Andrey Bely collection urn analysis. Andrey Bely
“Ashes” is a book of poems by Andrei Bely. Most of them were created by the poet in 1904-1908, but A. Bely emphasized that the main themes of the book arose with him earlier, in the period 1904-1906.
There are 85 poems in seven sections of the book. “Ashes” was first published in 1909 in St. Petersburg. As an epigraph to the book, Bely uses a poem by N.A. Nekrasov “No matter what year, the strength decreases...” (1861). The poet never believed that the texts of his poems should be unchanged, fixed once and for all. He constantly created new versions of poems, mercilessly reworking what had already been written. His friends joked that it was necessary to create “a society for the protection of A. Bely’s creations from cruel treatment.” There are five editions of the book Ashes (two published and three unpublished). Editions 1909,1921,1923,1925 and 1929 differ significantly from each other. Thus, in the 1925 edition there was an epigraph from a poem by A.A. Blok “Autumn Will”, as amended in 1929, there are only four sections and 50 poems.
“Ashes” is considered the pinnacle of A. Bely’s creativity. The hopelessly tragic love for L.D. Mendeleeva, Blok’s wife, forced the poet to take a fresh look at the world. The festive, Dionysian rapture of the beauty of “Gold in Azure” is replaced by an attempt to comprehend one’s own fate and the fate of Russia. Bely placed poems immersed in the world of lyrical experiences in the book “Urna,” also published in 1909. In “Ashes,” the author’s disappointments and doubts are intertwined with thoughts about a ruined, destitute country. “Actually, all the poems of “Ashes” from the period 1904-1908. - one poem talking about the deaf, unbroken spaces of the Russian land; in this poem the themes of the reaction of 1907 and 1908 are equally intertwined. with themes of the author’s disappointment in achieving the previous bright paths,” wrote A. Bely in the preface to the publication of the book in 1923. The poet makes an attempt to give the symbolist text a new interpretation, combining it with a realistic work (Nekrasov’s poem, taken as an epigraph), and thereby placing it in the context of the realistic tradition.
Russia appears in poetry as the embodiment of chaos. Under the gloomy, leaden sky there are “wretched flocks of huts”, “wretched flocks of people.” Autumn, dim landscape, dull and hopeless. Bely introduces unusual images for him into the poetics of symbolism. Emphatically ordinary objects are perceived not as naturalistic details, but as symbols of hopelessness, dead end, death. An important theme of Bely’s collection “Ashes” was the theme of the city. It is perceived as a ghostly space in which an ominous masquerade is performed. People mindlessly have fun during a feast, reminiscent of a feast during the plague, without hearing the warning: “you are destined to perish.” In the “City” section, the image of a red domino with a dagger in hand appears, spreading fear and devastation everywhere. This image will later appear in Bely’s novel “Petersburg”. The image of the poet in “Ashes” is the image of a persecuted and ridiculed prophet. All that awaits him is “a wreath of prickly nettles placed on his forehead.” Trying to make sense of the past presupposes the possibility of seeing the future. Bely defined the idea of his collection this way: “Ashes are a book of self-immolation and death, but death itself is only a curtain that closes the horizons of the distant in order to find them in the near.”
The characteristic ideological and artistic features of the “young symbolist” movement and the artistic method of symbolism were manifested in the work of Andrey Bely (pseud., present, name - Boris Nikolaevich Bugaev; 1880–1934) - poet, prose writer, critic, author of works on the theory of symbolism, memoirs, philological studies. In his philosophical and aesthetic quests, A. Bely was always contradictory and inconsistent. At the first stage of his ideological and creative development, he was interested in Nietzsche and Schopenhauer, the philosophical ideas of Vl. Solovyov, then the neo-Kantian theories of Rickert, which he soon decisively abandoned; from 1910 he became a passionate preacher of the anthroposophical views of the mystical philosopher Rudolf Steiner.
Under the influence of Nietzsche and Schopenhauer, Bely believed that the most expressive form of art, which can embrace all spheres of the human spirit and existence, is music - it determines the development of the art of modern times, in particular poetry. Bely tried to prove this thesis with his “Symphonies”, inspired by the ideas of Solovyov and built on fabulous fantastic motifs, mainly medieval legends and tales. The “Symphonies” are full of mysticism, forebodings, expectations, which were uniquely combined with an exposure of the spiritual impoverishment of modern man, the everyday life of the literary environment, the “terrible world” of bourgeois, spiritless everyday life. "Symphonies" were built on the collision of two principles - high and low, spiritual and unspiritual, beautiful and ugly, true and false, expected and actual reality. This main leitmotif develops in numerous figurative and rhythmic variations, endlessly changing verbal formulas and refrains.
In 1904, simultaneously with “Poems about a Beautiful Lady” by A. Blok, the first collection of poems by A. Bely, “Gold in Azure,” appeared. The main stylistic features of the poems in this book are already defined in its title. The collection is filled with light, shades of joyful colors with which dawns and sunsets glow, festively illuminating the world striving for the joy of Eternity and Transfiguration. The theme of dawns - the cross-cutting motif of the collection - is revealed in a typically symbolist vein of mystical expectations. And here, as in the “Symphonies,” Bely’s mystical fantasy is intertwined with the grotesque. This interweaving of two stylistic elements will become a characteristic feature of the style of A. Bely, a poet and prose writer, for whom the high always borders on the low, the serious on the ironic. The collection also illuminates with romantic irony the image of a poet struggling with the illusions of his artistic world (he is already experiencing an era of “disbelief”), which, however, remain for him the only reality and moral value.
The poems of the last section of the collection – “Before and Now” – anticipate the motives, images, and intonations of his future poetic book “Ashes”. Modernity invades the poetry of A. Bely - everyday scenes, sketches of everyday life, genre pictures from the life of the city.
The revolution of 1905–1907 had the strongest impact on the development of A. Bely’s worldview. Myth Vl. Solovyov’s idea of the coming of Eternal Femininity was not realized. A crisis sets in in the poet's mind. The events of our time, real life with its contradictions, increasingly attract his attention. The central problems of his poetry are the revolution, Russia, and people's destinies.
In 1909, A. Bely’s most significant poetic book, “Ashes,” was published. In the 1920s, in the preface to a collection of his selected poems, Bely defined the main theme of the collection as follows: “... All the poems of “Ashes” of the period 1904–1908 are one poem, talking about the deaf, unbroken spaces of the Russian Land; in this poem the same The themes of the reaction of 1907 and 1908 are intertwined with the themes of the author’s disappointment in achieving the previous, bright paths."
The book is dedicated to the memory of N. A. Nekrasov. From mystical dawns and prayers inspired by the lyrics of Vl. Solovyov, Bely goes into the world of Nekrasov’s “weeping Muse”. As an epigraph, the poet takes lines from Nekrasov’s famous poem:
No matter what year, your strength decreases,
The mind is lazier, the blood is colder...
Motherland! I'll reach the grave
Without waiting for your freedom!
But I wish I knew, dying,
That you are on the right path,
What is your plowman, sowing the fields,
Sees a great day ahead...
The theme of Russia, poor, oppressed, in the verses of “Ashes” is the main one. But, unlike Nekrasov’s lyrics, A. Bely’s poems about Russia are filled with a feeling of confusion and hopelessness. The first part of the book (“Russia”) opens with the famous poem “Despair” (1908):
Enough: don’t wait, don’t hope -
Scatter, my poor people!
Fall into space and break
Year after painful year!
Centuries of poverty and lack of will,
Allow me, O Motherland,
Into the damp, empty expanse,
In your freedom to weep:
<...>
Where they look into my soul from the night,
Rising above the canopy of hillocks,
Cruel, yellow eyes
Your crazy taverns, -
There, where there is death and disease
A dashing rut has passed, -
Disappear into space, disappear
Russia, my Russia!
A. Bely writes about the village, the city, the “miserables” (as the sections of the book are named), wanderers, beggars, pilgrims, convicts, and the “unforgiving” spaces of Rus'. The poet widely uses the poetic traditions of folk lyrics. In conveying folk style and the rhythm of folk verse, he formally achieves extreme virtuosity. But, unlike Blok, A. Bely was unable to go beyond formal stylization and did not see in folk art its main pathos - life affirmation and historical optimism. The feeling of fatal restlessness of Russian life corresponds in the poems of the collection to the mournful rhythms of the verse, dull, gray landscapes. In this collection there are no shining colorful epithets that permeate the book "Gold in the Azure"; here everything is immersed in the ashen gray of halftones.
A. Bely's poems about Russia are significant in terms of formal mastery, rhythmic diversity, verbal imagery, and sound richness. But artistically they are incommensurate with A. Blok’s poems about the Motherland, written at the same time. If Blok’s thoughts about Russia are full of optimistic expectations of the beginning of great life changes, if for the poet light always shines in the darkness, if in the vastness of his native country he feels the wind of the coming battle, then A. Bely’s thoughts about Russia are permeated with a feeling of despair, and the poet’s ideas about the future - deathly silence of graveyards.
The theme of the city is also unique (unlike Bryusov and Blok) in its ideological and creative interpretation: it is given a significant place in “Ashes”. Bely writes about specific revolutionary events of 1905 (“Feast”, “Reproach”, “Funeral”), urban everyday life, and above all about the “ghostliness” of the modern city. Among the city's masquerade of ghosts, the poet's attention is drawn to the symbol of rock and revolution - the "Red Domino", an image that will become one of the central ones in the romance "Petersburg".
In 1909, a book of poems by A. Bely “Urna” was published. In the preface to it, the poet wrote that if “Ashes is a book of self-immolation and death,” then the main motive of “Urna” is “reflections on the frailty of human nature with its passions and impulses.” This book is already oriented towards other historical and literary traditions - the traditions of Batyushkov, Derzhavin, Pushkin, Tyutchev, Baratynsky. Bely appears in the book as a brilliant versifier, but all this is stylization, a phenomenon of sophisticated stylistic masquerade.
In the field of poetics, Urn is a book of overtly formal experimentation. As one critic aptly put it, this is a kind of verbal “zeal.” The collection was the pinnacle of formal research and skillful stylizations, reflecting A. Bely’s work on the poetics of Russian verse. This was an attempt to test the theory with poetic practice. “The Urn” ended a whole stage of A. Bely’s poetic development.
At the same time, A. Bely wrote a number of articles devoted to the experimental study of rhythm. His experiments laid the foundation for the formal study of literary texts ("Lyrics and Experiment", "Experience in Characterizing Russian Iambic Tetrameter", "Comparative Morphology of the Rhythm of Russian Lyricists in Iambic Dimeter", "The Magic of Words"). The Russian school of formalists largely relied on them.
In the 1910s, A. Bely the poet did not create anything fundamentally new. He begins to work on a great epic, tentatively called "East and West." The metaphysical nature of A. Bely's socio-historical concepts determined in advance the failure of the book. He could not write an epic, but he created the story “Silver Dove” - about the mystical quest of an intellectual trying to get closer to the people on a sectarian basis, and the novel “Petersburg” - his most significant work in prose. During these years, he wrote articles on symbolism ("Symbolism", "Green Meadow", "Arabesques"), in which he sums up many years of reflection on art and makes a new attempt to substantiate the direction.
A. Bely’s aesthetic views of those years determined the artistic specifics of his prose. A. Bely argued that the origins of modern art are in the tragic feeling of the turn of the epochs of human history. The “new” school marks a crisis of worldviews. “New art” affirms the primacy of creativity over knowledge, the possibility of transforming reality only in an artistic act. The purpose of symbolism is the re-creation of personality and the revelation of more advanced forms of life. Symbolic art is fundamentally religious. And in his treatise “Emblematics of Meaning,” Bely built a system of symbolism based on Rickert’s philosophy. He wrote that symbolism for him is a “religious confession” that has its own dogmas. The symbolic image, Bely believed, is closer to religious symbolism than to aesthetic one. Outside the creative spirit, the world is chaos; consciousness (“experience”) creates reality and organizes it into its own categories. The artist is not only a creator of images, but also a demiurge who creates worlds. Art is theurgy, a religious act. Culture is exhausted, humanity faces the transformation of the world and a new theophany. These are the main theses of A. Bely’s aesthetic system of the 1910s.
The prose works of A. Bely of this time are a unique phenomenon in the history of prose. Bely turned the syntax upside down, flooded the dictionary with a stream of new words, and made a “stylistic revolution” of the Russian literary language, which ended (in most of his experiments) in failure.
In the novel "Petersburg", developing the theme of the city outlined in "Ashes", A. Bely created an incredible, fantastic world, full of nightmares, perversely direct perspectives, soulless ghost people. In the novel, the main ideas and artistic features of Bely’s work of previous years, now complicated by his passion for the mystical philosophy of the Theosophists, found their complete expression. It reflected the negative attitude of the “Young Symbolists” towards urban culture as the culture of the West, artificially planted in Russia by the will of Peter, and their rejection of the autocratic-bureaucratic state.
Bely’s Petersburg is a ghost materialized from the yellow mists of the swamps. Everything in it is subject to numbering, the regulated circulation of papers and people, the artificial straightness of avenues and streets. The symbol of the dead bureaucratic forces of St. Petersburg and the state in the novel is the royal dignitary Apollo Apollonovich Ableukhov, who seeks to conserve, freeze living life, and subordinate the country to the soulless regulation of government regulations. He fights the revolution and persecutes people from the “troubled islands.” In his image one can see the features of K. Pobedonostsev, the famous conservative K. Leontyev, who demanded to “freeze
Russia", Shchedrin's heroes. But Ableukhov's power and strength are illusory. He is a living dead man, a soulless automaton of the imperial state machine. In a pointed grotesque satire on absolutism, the police-bureaucratic system of tsarism, the strength of the novel is determined by its connections with the critical line of Russian literature (Pushkin, Gogol, Dostoevsky), the images of which are transformed by A. Bely.
In general, the novel is formed by Bely’s false idea about the meaning, goals, forces of revolution, the opposition of the truth of “revolution in the spirit”, as the beginning of a true transformation of life, with the untruth of the social revolution, which can only take place after and as a result of the spiritual transformation of man and humanity under the influence of mystical experiences , mystically aware of the coming crisis of culture. Using the symbolism of flowers accepted by the symbolists, A. Bely contrasts the “Red Domino”, the social revolution, with the “White Domino”, a symbol of the aspirations of a genuine (mystical) transformation of the world.
The plot of this novel contains the complex philosophical and historical concept of A. Bely, his apocalyptic aspirations. And the conservative Ableukhov, and his revolutionary son, and Dudkin turn out to be instruments of the same “Mongolian” cause of nihilism, destruction without creation.
After the October Revolution, A. Bely taught classes on the theory of poetry with young poets of Proletkult, and published the journal “Notes of Dreamers” (1918–1922). In his work even after October, he remained faithful to symbolist poetics, paying special attention to the sound side of verse and the rhythm of phrases.
Of the works of A. Bely of the Soviet period, his memoirs “At the turn of two centuries” (1930), “The beginning of the century. Memoirs” (1933), “Between two revolutions” (1934), which tell about the ideological struggle among the Russians, are of significant interest. intelligentsia of the beginning of the century, about pre-October Russia.
- Bely A. Poems. Berlin; Pg.; M., 1923. P. 117.
A. Bely. A new, “bright” word in Russian literature. In the abstract, based on the analysis of the texts of A. Bely’s poetic works, the following issues are considered: - life milestones associated with the poet’s creative activity; -the theme of “eternal return” as central to the poet’s work; - the main motives of the most striking collections: “Ashes” and “Urna”. The goals and objectives of the author of the abstract: to show the significance of A. Bely’s personality as a theorist of symbolism; the poet’s approval of a “new, bright word” in Russian literature (updating the poetic language, the form of the verse, its rhythm, vocabulary, colors, etc.). The epigraphs of the work are the words of A. Bely himself, “Eternity is kindred to me,” and the statement of Mikhail Chekhov, “Time in Bely’s world was not the same as ours. He thought in epochs." Andrey Bely (pseudonym of Boris Nikolaevich Bugaev;)
The turn of the century is the time of the birth of bright individuals and personalities in Russian culture. The turn of the century is called the Russian Renaissance. This time revealed a brilliant constellation of bright individuals. “In Russia at the beginning of the century there was a real cultural renaissance,” wrote the philosopher Berdyaev. “Only those who lived at that time know what a creative upsurge we experienced, what a breath of spirit swept through Russian souls. Russia experienced the flowering of poetry and the flowering of philosophy, experienced intense religious quests, mystical and occult moods.” A significant phenomenon in Russian poetry at the turn of the century was symbolism. It did not cover all poetic creativity in the country, but it marked a special stage of literary life characteristic of all times. The Symbolist movement arose as a protest against the impoverishment of Russian poetry, as a desire to say a fresh word in it, to restore vitality to it.
The best works of the luminaries of Russian symbolism (Balmont, Bryusov, Annensky, Sologub, Bely) refreshed and updated the poetic language, enriching the forms of verse, its rhythm, vocabulary, and colors. They, as it were, instilled in us a new poetic vision, taught us to perceive and evaluate poetry more comprehensively, deeply, more sensitively. Symbolists are creative artists, highly erudite, people of extensive knowledge, bright individuality: each of them in poetry has its own timbre of voice, its own palette of colors, its own appearance. The melodious Balmont, the multi-faceted Bryusov with cast stanzas, the subtle psychologist, contemplator Innokenty Annensky and the restless Andrei Bely.
Andrei Bely (pseudonym of Boris Nikolaevich Bugaev;) was born and raised among the Moscow intelligentsia, in the family of the famous mathematician, professor at Moscow University Nikolai Vasilyevich Bugaev. Already studying at the university, Bely visited daily the family of Mikhail Sergeevich and Olga Mikhailovna Solovyov, the parents of his friend Sergei. “Not a tea table - a meeting of the Florence Academy,” the White House recalled with gratitude to the Solovyovs. Mikhail Sergeevich helped Boris Bugaev to compose the pseudonym “Andrei Bely” (white is a sacred, comforting color, representing a harmonious combination of all colors, Vladimir Solovyov’s favorite color). In 1898 he entered the Faculty of Physics and Mathematics of Moscow University and upon graduation studied at the Faculty of History and Philology. At this time, a circle of Moscow “Argonauts” (based on the poem “Our Argo”) forms around Bugaev. In 1900, Bugaev finally decided to become a writer. This year the first of his four “symphonies” - “Northern” or “Eroic” - was created. The writer later admitted that, calling his first prose experiments “symphonies,” he himself did not really know what they were. Bely's "symphonies" are more similar to sonatas. The word “symphony” was a kind of symbol for Bely.
Bely often turned to the leitmotif technique of storytelling. That is, highlighting one, two or more main themes in a work, to which the narrator returns at certain intervals. Already in the second “symphony” the theme of life affirmation struggles with the theme of “eternal return”. In the second “symphony”, on the very first page, the image of the sun appears - an ominous “eye” staring at the earth and pouring streams of “metallic heat” onto it. Bely’s first collection of poetry, “Gold in Azure,” was published in 1904. In this collection, the sun is an object of almost pagan worship: the heart is lit by the sun. The sun - to the eternal swiftness. The sun is an eternal window into golden dazzle. "Sun"
The poem "The Sun" is dedicated to K. Balmont, the author of the book "Let's Be Like the Sun." Also in this collection, Bely identifies the sun with the image of the Golden Fleece. In the poem cycle “The Golden Fleece,” Bely transforms the ancient Greek myth into a symbolic allegory of the life goals of his generation - the generation at the turn of the century. A focus on the future permeates all the poems in the “Gold in Azure” section.
1905 – 1908 filled with drama in the life of A. Bely, associated with his personal experiences - 1908... The period of “healing” from the blow suffered begins. During these years, Bely begins to see Russia through the prism of Nekrasov’s lyrics. The collection of poems “Ashes” (1908) is dedicated to the memory of Nekrasov. The poems in the collection are carefully selected and arranged in a very thoughtful order. It did not include many of the poems written simultaneously with the poems of "Ashes", from which Bely compiled the next collection "Urna" (1909). The idea of “Ashes” is most accurately formulated by Bely himself: “Ashes” is a book of self-immolation and death, but death itself is not only a curtain that closes the horizons of the distant in order to find them in the near.” The collection is built along the line of greater and greater enlightenment of the “horizon” (it is not for nothing that one of the last sections of the collection is called “Clearances”). The space of "Ashes" is a system of circles inscribed into each other, shrinking as they approach the "center". The first “circle” is the largest - the almost limitless, “empty”, “terrible”, hungry spaces of Russia, in which the people, exhausted by disease, hunger and drunkenness, are doomed to scatter:
There, where the death and disease of Dashing went through a rut... "Despair" The theme of chaos - the cross-cutting theme of the collection - is especially emphasized in this section. The natural human reaction to an encounter with chaos is a primal feeling of sacred horror. This feeling is expressed in the images of “unknown”, “dumbness”: “Where dumbfoundedness prowls across the field, Rising like a withered bush...” “Despair”
The space of the “circle” - “Villages” - has clearer contours. It is no longer empty, but is saturated with objects that are emphatically mundane. In the context of the general concept of the collection, the sticking out “red tongue” of the hanged man, and the flocks of either black or emerald flies, and the blood whistling with foam “from under the red handle” are symbols of a hopeless, dead-end death taking place in a one-dimensional space: A red stream was sprinkled on the Red blood current The knife shook, the knife whistled, into the chest, stomach and side. “Murder The space of the next section “City” is even more specific: Moscow “feast during the plague.” The ritual dance of Death is transferred in “City” from the open spaces of Russia to the closed world of apartments:
In this little world live carefree rich people who do not see anything around them. The motifs of sacrifice and suffering on the cross acquire particular significance in the section “Madness” (a wreath of “prickly nettles”):... Here the host is glad to see his guest. Iron anger will ring on the floor. There are scythes and a dry cane, A guest enters, snaps a bone, The shroud flutters: the guest is death. "Masquerade" I weave over the expanse, motionless, A wreath of prickly nettles... "In the fields"
Who calls with a fragrant oath, With a sweet sigh, calls to go into the distance, So that on a windless day, over the harvest, Sacrificial blood will flow? "Life" These are the motives that restore hope. It faintly glimmers in the last poem of the section - “To Friends” - but it will strengthen and intensify in the next section, “Glooms”: “Ashes” is the most tragic collection of poems by Andrei Bely.
His next collection is “Urna” (1909). This collection is dedicated to Bryusov. Most of the poems in the collection are elegiac in nature, although “The Urn” also contains deeply personal, almost diary entries about the drama experienced: A year has passed since the fatal meeting, How we, cherishing love, cherished... And if Love no longer binds you to me, I will leave, hidden by the darkness of the night, Into the night, into an icy field... I will lay down unrequited torment in the grave of snowy Love... “Quarrel” “Urna” is the last thing Andrei Bely created in the dramatic four years.
At the end of 1910, A. Bely and his wife Asya Turgeneva went on a trip to North Africa. Returning from a trip to North Africa, in the spring of 1911 in Russia, Bely wrote “Travel Notes” - the most enlightening work of all that he wrote. In March 1912, he and his wife left for Europe, where they lived until 1916, occasionally visiting Russia. In September 1916, Bely returned to his homeland. Russia is waiting for him. With Russia, Bely is experiencing its most tragic time: Weep, stormy element, In the columns of thunderous fire! Russia, Russia, Russia, Be mad, burning me!.. Russia, Russia, Russia, Messiah of the coming day! “To the Motherland” This most famous poem by Bely, written in August 1917, most accurately conveys the poet’s attitude towards the overthrow of tsarism. On Spiritual Day, June 20, 1921, he begins to write the poem “First Date” - a requiem for the world burned in the storm, for his youth, for the dying Russian culture.
“First Date” is the pinnacle of Andrei Bely’s poetry in the 20s. Then the “path of descent” begins. “All my life I have been dreaming of some new forms of art in which the artist could experience himself merged with all types of creativity... I wanted to break out of the dull word to the bright one,” Bely admitted, and indeed, search, restlessness, movement form the very essence of his human and literary nature. The last years of Bely’s life are no exception, quite the contrary: more and more new forms, genres, styles are being tried, the writer combines work on “Moscow” with travel notes “Wind from the Caucasus” and “Armenia”, with works on poetry, philosophical studies and cultural studies experiments, turns to theatrical dramatizations and even film scripts.
The writer's death in 1934 was perceived by contemporaries as the end of an entire era. And it is quite obvious that the poetic works and prose created by Bely left a deep mark not only in literature, but also in the entire Russian culture. Andrei Bely is one of the most prominent personalities of the early 20th century, a prominent representative and theorist of Russian symbolism. This is an encyclopedically educated person. It is noteworthy that Bely sought to affirm the principles of symbolism both in his artistic works and in theoretical works: “Symbolism” (1910), “Arabesques” (1911), “The Tragedy of Creativity. Dostoevsky and Tolstoy" (1911), "The Poetry of the Word" (1922), "The Mastery of Gogol" (1934), etc. Andrei Bely's memoirs were among the fundamental books on the history of symbolism and literature of the early 20th century (three volumes: "At the turn of the century ", "Beginning of the century", "Between two revolutions"). It is known that many Russian poets are indebted to A. Bely as a sensitive and wise teacher. The ingenuity, airy grace and wit that distinguish many of A. Bely’s poems do not leave the reader indifferent.
Ivan Alekseevich Bunin. Life and art. (Review.)
Poems "Epiphany Night", "Dog", "Loneliness" (you can choose three other poems).
The subtle lyricism of Bunin's landscape poetry, the sophistication of verbal drawing, color, and a complex range of moods. Philosophy and laconicism of poetic thought. Traditions of Russian classical poetry in Bunin's lyrics.
Stories: "Mr. from San Francisco", "Clean Monday". The originality of the lyrical narrative in the prose of I. A. Bunin. The motive of withering and desolation of noble nests. A premonition of the death of the traditional peasant way of life. The writer's appeal to the broadest socio-philosophical generalizations in the story "Mr. from San Francisco." Psychologism of Bunin's prose and features of "external depiction". The theme of love in the writer's stories. The poetry of female images. The motive of memory and the theme of Russia in Bunin’s prose. The originality of I. A. Bunin’s artistic style.
Theory of literature. Psychologism of landscape in fiction. Story (deepening ideas).
Alexander Ivanovich Kuprin. Life and art. (Review.)
The stories “Duel”, “Olesya”, the story “Garnet Bracelet” (one of the works of choice). Poetic depiction of nature in the story "Olesya", the richness of the heroine's spiritual world. Olesya's dreams and the real life of the village and its inhabitants. Tolstoy's traditions in Kuprin's prose. The problem of personal self-knowledge in the story "The Duel". The meaning of the story's title. The author's humanistic position. The tragedy of the love theme in the stories "Olesya" and "Duel". Love as the highest value of the world in the story "The Garnet Bracelet". The tragic love story of Zheltkov and the awakening of the soul of Vera Sheina. Poetics of the story. The symbolic sound of details in Kuprin’s prose. The role of plot in a writer’s novels and stories. Traditions of Russian psychological prose in the works of A. I. Kuprin.
Theory of literature. The plot and plot of an epic work (deepening ideas).
Leonid Nikolaevich Andreev
The story "Judas Iscariot". Psychologically complex, contradictory image of Judas. Love, hate and betrayal. The tragedy of human loneliness among people. Traditions of Dostoevsky in Andreev’s prose.
Maksim Gorky. Life and art. (Review.)
Stories “Chelkash”, “Old Woman Izergil”. Romantic pathos and harsh truth of M. Gorky’s stories. Folk poetic origins of the writer’s romantic prose. The problem of the hero in Gorky's stories. The meaning of the contrast between Danko and Larra. Features of the composition of the story "Old Woman Izergil".
"At the bottom". Social and philosophical drama. The meaning of the title of the work. The atmosphere of spiritual separation of people. The problem of imaginary and real overcoming a humiliating position, illusions and active thought, sleep and awakening of the soul. “Three truths” in the play and their tragic collision: the truth of fact (Bubnov), the truth of a comforting lie (Luke), the truth of faith in a person (Satin). Innovation of Gorky the playwright. Stage fate of the play.
Literary portrait sketch as a genre. Journalism. “My interviews”, “Notes on philistinism” “Destruction of personality”.
Theory of literature. Social and philosophical drama as a genre of dramaturgy (initial performances).
Silver Age of Russian Poetry
Symbolism
The influence of Western European philosophy and poetry on the work of Russian symbolists. The origins of Russian symbolism.
"Senior Symbolists": N. Minsky, D. Merezhkovsky, 3. Gippius, V. Bryusov, K. Balmont, F. Sologub.
"Young Symbolists": A. Bely, A. Blok, Vyach. Ivanov.
Valery Yakovlevich Bryusov. A word about the poet.
Poems: “Creativity”, “To the Young Poet”, “Bricklayer”, “The Coming Huns”. You can choose other poems. Bryusov as the founder of symbolism in Russian poetry. The cross-cutting themes of Bryusov's poetry are urbanism, history, change of cultures, motives of scientific poetry. Rationalism, refinement of images and style.
Konstantin Dmitrievich Balmont. A word about the poet. Poems (three poems chosen by the teacher and students). The resounding success of K. Balmont’s early books: “Let’s be like the sun,” “Only love,” “Seven-flowered garden” as an exponent of the “talk of the elements.” Color and sound design of Balmont's poetry. Interest in ancient Slavic folklore ("Evil Spells", "Firebird"). The theme of Russia in Balmont's emigrant lyrics.
Andrey Bely(B. N. Bugaev). A word about the poet. Poems (three poems chosen by the teacher and students). The novel “Petersburg” (review study with reading fragments). The influence of Vl.'s philosophy Solovyov on the worldview of A. Bely. A jubilant attitude (collection "Gold in Azure"). A sharp change in the artist’s sense of the world (collection “Ashes”). Philosophical thoughts of the poet (collection "Urna").
Acmeism
Program articles and “manifestos” of Acmeism. Article by N. Gumilyov “The Heritage of Symbolism and Acmeism” as a declaration of Acmeism. Western European and domestic sources of Acmeism. Review of N. Gumilyov's early work. S. Gorodetsky, A. Akhmatova, O. Mandelstam, M. Kuzmin and others.
Nikolay Stepanovich Gumilyov. A word about the poet.
Poems: "Giraffe". “Lake Chad”, “Old Conquistador”, the cycle “Captains”, “The Magic Violin”, “The Lost Tram” (or other poems of the choice of the teacher and students). The romantic hero of Gumilyov’s lyrics. Brightness, festivity of perception of the world. Activity, effectiveness of position hero, rejection of dullness, ordinariness of existence. The tragic fate of the poet after the revolution. The influence of Gumilyov’s poetic images and rhythms on Russian poetry of the 20th century.
Futurism
Western European and Russian futurism. Futurism in Europe. Manifestos of Futurism. Denial of literary traditions, absolutization of the self-valued, “self-sufficient” word. Urbanism of Budutli poetry. Futurist groups: egofuturists (Igor Severyanin and others). cubo-futurists (V. Mayakovsky. D, Burliuk, V. Khlebnikov, Vas. Kamensky), "Centrifuge" (B. Pasternak, N. Aseev, etc.). Western European and Russian futurism. Overcoming futurism by its largest representatives.
Igor Severyanin(I.V. Lotarev),
Poems from collections. "Thundering Goblet" “Pineapples in champagne”, “Romantic roses”, “Medallions” (three poems of the choice of the teacher and students). Searches for new poetic forms. The author's fantasy as the essence of poetic creativity. Poetic neologisms of Severyanin. Dreams and irony of the poet.
Theory of literature. Symbolism. Acmeism. Futurism (initial ideas).
Visual and expressive means of fiction: tropes, syntactic figures, sound writing (deepening and consolidating ideas).
Alexander Alexandrovich Blok. Life and art. (Review.)
Poems: “Stranger.” “Russia”, “Night, street, lantern, pharmacy...”, “In a restaurant”, (from the cycle “On the Kulikovo Field”), “On the Railway” (These works are required for study).
“I enter dark temples...”, “Factory”, “When you stand in my way.” (You can choose other poems.)
Literary and philosophical passions of the young poet. Influence of Zhukovsky, Fet, Polonsky, philosophy of Vl. Solovyova. Themes and images of early poetry: "Poems about a Beautiful Lady." The romantic world of early Blok. The musicality of Blok's poetry, rhythms and intonations. Block and symbolism. Images of a “terrible world”, ideal and reality in the poet’s artistic world. The theme of the Motherland in Blok's poetry. The historical path of Russia in the cycle “On the Kulikovo Field” and in the poem “Scythians”. Poet and revolution.
Poem "Twelve". The history of the creation of the poem and its perception by contemporaries. The versatility and complexity of the artistic world of the poem. Symbolic and concrete-realistic in the poem. Harmony of a work that is incompatible in the linguistic and musical elements. Characters of the poem, plot, composition. The author's position and ways of expressing it in the poem. The ambiguity of the ending. The ongoing controversy surrounding the poem. Blok's influence on Russian poetry of the 20th century.
Theory of literature. Lyrical cycle. Free verse (free verse). The author's position and ways of expressing it in the work (development of ideas).
Symbolism
"Senior Symbolists": N. Minsky, D. Merezhkovsky, 3. Gippius, V. Bryusov, K. Balmont, F. Sologub.
"Young Symbolists": A. Bely, A. Blok, Vyach. Ivanov.
Valery Yakovlevich Bryusov. A word about the poet.
Poems:“Creativity”, “To the Young Poet”, “As-Sargadon”, “Old Viking”, “Work”, “Mason”, “The Coming Huns”, (poems chosen by the teacher and students). Bryusov as the founder of symbolism in Russian poetry. The cross-cutting themes of Bryusov's poetry are urbanism, history, change of cultures, motives of scientific poetry. Rationalism, refinement of images and style.
Konstantin Dmitrievich Balmont. A word about the poet.
Poems (3 poems chosen by the teacher and students). The resounding success of K. Balmont's early books: “We will be like the sun”, “Only love. Seven-flowered garden."
Poetry as an exponent of the “speak of the elements.” Color and sound design of Balmont's poetry. Interest in ancient Slavic folklore (“Evil Spells”, “Firebird”). The theme of Russia in Balmont's emigrant lyrics.
Andrey Bely (B. N. Bugaev). A word about the poet.
Poems (3 poems chosen by the teacher and students). Novel "Petersburg" (overview of reading fragments). The influence of Vl.'s philosophy Solovyov on the worldview of A. Bely. Jubilant attitude (collection "Gold in Azure") A sharp change in the artist’s sense of the world (collection "Ash"). Philosophical reflections of the poet (collection "Urn").
Acmeism (3 hours)
Article by N. Gumilev"The Legacy of Symbolism and Acmeism" as a declaration of Acmeism. Western European and domestic sources of Acmeism . Review of the early works of N. Gumilyov, S. Gorodetsky, A. Akhmatova, O. Mandelstam, M. Kuzmin and others.
Nikolai Stepanovich Gumilev. A word about the poet.
Poems: "Giraffe", "Lake Chad", "Old Conquistador", cycle “Captains”, “Magic Violin”, “Memory”, “Word”, “Lost Tram” or other poems (3 poems chosen by the teacher and students). The romantic hero of Gumilyov's lyrics. Brightness, festivity of perception of the world. Activity, effectiveness of the hero’s position, rejection of the dullness, the ordinariness of existence. The tragic fate of the poet after the revolution. The influence of Gumilev’s poetic images and rhythms on Russian poetry of the 20th century.
Futurism.
Manifestos of Futurism. Denial of literary traditions, absolutization of the self-valued, “autonomous” word. Urbanism of Budutli poetry. Futurist groups: egofuturists ( Igor Severyanin and others), cubo-futurists ( V. Mayakovsky, D. Burliuk, V. Khlebnikov, Vas. Kamensky),"Centrifuge" (B. Pasternak, N. Aseev and etc.). Western European and Russian futurism. Overcoming futurism by its largest representatives
Igor Severyanin (I.V. Lotarev). A word about the poet.
Poems from collections: “Thundering Cup”, “Pineapples in Champagne”, “Romantic Roses”, "Medallions" (3 poems chosen by the teacher and students). Searches for new poetic forms. The author's fantasy as the essence of poetic creativity. Poetic neologisms of Severyanin. Dreams and irony of the poet.
Literary theory . Symbolism. Acmeism. Futurism (initial ideas).
Visual and expressive means of fiction: tropes, syntactic figures, sound writing (deepening and consolidating ideas).
Alexander Alexandrovich Blok.
Life and creativity (review).
Poems: “Stranger”, “Russia”, “Night, street, lantern, pharmacy...”, “In a restaurant”, “The river spreads out. Flows, lazily sad...”(from the series “On the Kulikovo Field”), “On the Railroad”
“I enter dark temples...”, “Factory”, “About valor, about exploits, about glory...”, “When you stand in my way...”, “Scythians”.
Literary and philosophical passions of the young poet. Influence of Zhukovsky, Fet, Polonsky, philosophy of Vl. Solovyova. Themes and images of early poetry: "Poems about a Beautiful Lady." The romantic world of early Blok. The musicality of Blok's poetry, rhythms and intonations. Block and symbolism. Images of a “terrible world”, ideal and reality in the poet’s artistic world. The theme of the homeland in Blok's poetry. The historical path of Russia in the cycle “On the Kulikovo Field” and in the poem “Scythians”. Poet and revolution.
Poem "Twelve". The history of the creation of the poem and its perception by contemporaries. The versatility and complexity of the artistic world of the poem. Symbolic and specifically realistic in the poem. Harmony of a work that is incompatible in the linguistic and musical elements. Characters of the poem, plot, composition. The author's position and ways of expressing it in the poem. The ambiguity of the ending. The ongoing controversy surrounding the poem. Blok's influence on Russian poetry of the 20th century.
Theory of literature. Lyrical cycle (poems). Free verse (free verse). The author's position and ways of expressing it in the work (development of ideas).
New Peasant Poetry. (Review)
Nikolai Alekseevich Klyuev.
A word about the poet.
Poems “Christmas of the hut”, “You promised us gardens...”, “I am dedicated by the people...”. Spiritual and poetic origins of new peasant poetry: Russian folklore, ancient Russian literature, traditions of Koltsov, Nikitin, A. Maykov, L. Mey and others. Interest in the artistic wealth of Slavic folklore. Group "Beauty" (Roerich, Remizov, Gorodetsky, etc.). Klyuev and Blok. Klyuev and Yesenin. Polemics of the new peasant poets with proletarian poetry. Artistic and ideological
Sergei Alexandrovich Yesenin.
Life and creativity (review).
Poems: “Go you, my dear Rus'!..”, “Do not wander, do not crush in the crimson bushes...”, “Now we are leaving little by little...”, “Letter to the mother,” “The feather grass is sleeping. Dear plain...", "You are my Shagane, Shagane!..", "I don’t regret, I don’t call, I don’t cry...", “Soviet Rus'”(these works are required to study).
“Sorokoust”, “I left my home...”, “Returning to my homeland”, “To Kachalov’s Dog”, “You are my fallen maple, frozen maple...”.
All-pervasive lyricism is the specificity of Yesenin’s poetry. Russia, Rus' as the main theme of all his work. The idea of a “nodal ovary” between nature and man. Folk poetic origins of Yesenin’s poetry. The song basis of his poetics. Traditions of Pushkin and Koltsov, influence of Blok and Klyuev. Love theme in Yesenin's lyrics. Confessional poetic messages to relatives and loved ones.
Yesenin and imagism. Yesenin's "theory of organic image". The wealth of poetic language. Color painting in Yesenin's poetry. Through images of Yesenin's lyrics. The tragic perception of the revolutionary breakdown of the traditional way of life of the Russian village. Pushkin's motives in the development of the theme of the transience of human existence. Poetics of the Yesenin cycle "Persian motives".
Literary theory . Folklorism of literature (deepening the concept). Imagism. Lyrical poetic cycle (deepening the concept). Lyric poem. Biographical basis of a literary work (deepening the concept).
LITERATURE OF THE 20'SXXVEKA (8h)
Review with a monographic study of one or two works (chosen by the teacher and students).
General characteristics of the literary process (4 hours)
Literary associations (“Proletkult”, “Forge”, LEF, “Pass”, “constructivists”, OBERIU, “Serapion’s Brothers” and etc.).
The theme of Russia and revolution: a tragic interpretation of the theme in the works of poets of the older generation (A. Blok, 3. Gippius, A. Bely, V. Khodasevich, I. Bunin, D. Merezhkovsky, A. Akhmatova, M. Tsvetaeva, O. Mandelstam and etc.).
Searches for the poetic language of a new era, experiments with words (V. Khlebnikov, Oberiut poets).
The theme of revolution and civil war in the works of writers of the new generation ("Iron Stream" A. Serafimovich,"Armored train 14-69" Sun. Ivanova,"Cavalry" I. Babel,"Russia, washed in blood" A. Vesely,"Devastation" A. Fadeeva).
The tragedy of the perception of revolutionary events by prose writers of the older generation ("Cry" A. Remizova as a genre of lyrical ornamental prose; "Sun of the Dead" I. Shmeleva). The search for a new hero of the era ("Naked Year" B. Pilnyak,"Wind" B. Lavreneva,"Chapaev" D. Furmanova).
Russian emigrant satire, its focus (“A dozen knives in the back of the revolution” A. Averchenko,"Nostalgia" Teffi).
Theory of literature. Ornamental prose (initial ideas).
Vladimir Vladimirovich Mayakovsky.
Life and creativity (review).
Poems: “Could you?”, “Listen!”, “Violin and a little nervously”, “Lilichka!”, “Anniversary”, “Sitting around” (these works are required to study).
“Here!”, “Conversation with the financial inspector about poetry”, “To Sergei Yesenin”, “Letter to Comrade Kostrov from Paris about the essence of love”, “Letter to Tatyana Yakovleva”.(You can choose 3-5 other poems.)
The beginning of a creative journey: the spirit of rebellion and outrageousness. Poetry and painting. Mayakovsky and futurism. Poet and revolution. The pathos of the revolutionary reorganization of the world. Cosmic scale of images. Mayakovsky's poetic innovation (rhythm, rhyme, neologisms, hyperbolicity, plasticity of images, daring metaphors, unusual stanzas, graphics of verse).
The originality of the poet's love lyrics. The theme of the poet and poetry in the works of Mayakovsky. Satirical lyrics and dramaturgy of the poet. The breadth of the genre range of the creative poet-innovator.
Traditions of Mayakovsky in Russian poetry of the 20th century.
Theory of literature. Futurism (development of ideas). Tonic versification (deepening the concept). Development of ideas about rhyme: compound rhyme (pun), assonant rhyme.
LITERATURE OF THE 30'S.(25 hours)
Creative searches of writers in the 30s (1 hour)
The complexity of creative searches and literary destinies in the 30s. The fate of man and his calling in the poetry of the 30s. Understanding the mission of the poet and the meaning of poetry in creativity A. Akhmatova, M. Tsvetaeva, B. Pasternak, O. Mandelstam and etc.
New wave of poets: lyric poems B. Kornilova, P. Vasilyeva, M. Isakovsky, A. Prokofiev, Y. Smelyakov, B. Ruchev, M. Svetlov and etc.; poems A. Tvardovsky, I. Selvinsky.
The theme of Russian history in the literature of the 30s: A. Tolstoy."Peter the First",Yu. Tynyanov."Death of Wazir-Mukhtar" poems Dm. Kedrina, K. Simonov, L. Martynov.
Approval of the pathos and drama of revolutionary trials in creativity M. Sholokhov, N. Ostrovsky, V. Lugovsky and others.
Mikhail Afanasyevich Bulgakov.
Life and creativity (review).
Novel "Master and Margarita".
The history of the creation and publication of the novel “The Master and Margarita”. The originality of the genre and composition of the novel. The role of the epigraph. Multifaceted, multi-level storytelling: from symbolic (biblical or mythological) to satirical (everyday). A combination of reality and fantasy. The problem of betrayal (Judas), the theme of apprenticeship (Matthew Levi) and the theme of conscience (Pontius Pilate) in the novel. “The Master and Margarita” is an apology for creativity and ideal love in an atmosphere of despair and darkness.
Traditions of European and Russian literature in M. A. Bulgakov’s novel “The Master and Margarita” (I.-W. Goethe. E.-T.-A. Hoffman, N. V. Gogol).
Theory of literature. Diversity of novel types in Russian prose of the 20th century. Traditions and innovation in literature.
Bulgakov in the interpretation of modern theater (analysis of theatrical productions based on the writer’s works).
Andrey Platonovich Platonov.
Life and creativity (review).
Tale "Pit". High pathos and sharp satire of Plato's prose
The type of Plato's hero is a dreamer and truth-seeker. Exaltation of suffering, ascetic existence, the nobility of children. Utopian ideas of “common life” as the basis of the story’s plot. The philosophical ambiguity of the title of the story. The unusualness of Platonov's language and style. The connection of his work with the traditions of Russian satire (M. E. Saltykov-Shchedrin).
Theory of literature. Individual style of the writer (deepening the concept). Author's neologisms (development of ideas).
Anna Andreevna Akhmatova.
Life and creativity (review).
Poems: “The song of the last meeting...”, “I clenched my hands under a dark veil...”, “I have no need for odic battles...”, “I had a voice. He called comfortingly...", "Native Land"(these works are required to study).
“I learned to live simply and wisely...”, “Seaside Sonnet.” (You can choose 2-3 other poems.) Sincerity of intonation and deep psychologism of Akhmatov’s lyrics. Love as a sublime and beautiful, all-consuming feeling in Akhmatova’s poetry. The process of artistic creativity as a theme of Akhmatova’s poetry. Colloquial intonation and musicality of the verse. The merging of the theme of Russia and one’s own destiny in Akhmatova’s confessional lyrics. Russian poetry and the fate of the poet as a theme of creativity. The civil pathos of Akhmatova’s lyrics during the Great Patriotic War.
Poem "Requiem". Indivisibility, unity of the tragedy of the people and the poet. The meaning of the title of the poem. Biblical motifs and images in the poem. The breadth of epic generalization and the restrained nobility of mournful verse. Powerful tragic sound of "Requiem". The theme of the court of time and historical memory. Features of the genre and composition of the poem.
The creative heritage of A. Akhmatova and Russian poetry of the 20th - early 21st centuries.
Theory of literature. Lyrical and epic in the poem as a genre of literature (consolidation of the concept). Plot content of the lyrics (development of ideas).
Osip Emilievich Mandelstam.
Life and creativity (review).
Poems: « Notre Dame ", "Insomnia. Homer. Tight sails...", "For the explosive valor of the coming centuries...", "I returned to my city, familiar beforetears..."(these works are required to study).
"Hagia Sophia", " Silentium ", "Concert at the station", "We live without feeling the country beneath us...". (You can choose 3-4 other poems.)
Cultural sources of the poet’s creativity. Word, word image in Mandelstam's poetics. The musical nature of aesthetic experience in the poet’s poems. Descriptive-picturesque style and philosophical nature of Mandelstam’s poetry. Impressionistic symbolism of color. Rhythmic-intonation diversity. Poet and “Wolfhound Age”. Mandelstam's poetry at the end of the 20th - beginning of the 21st century.
Theory of literature. Impressionism (development of ideas). Verse, stanza, rhyme, methods of rhyming (consolidation of concepts).
Marina Ivanovna Tsvetaeva.
Life and creativity (review).
Poems: “To my poems, written so early...”, “Poems to Blok” (“Your name - bird in hand..."), "Who is created from stone, who is created from clay...", "Longing for the homeland! For a long time..." (these works are required to study).
“An attempt at jealousy”, “Poems about Moscow”, “Poems to Pushkin”. (You can choose 2-3 other poems.)
The uniqueness of Tsvetaeva’s poetic voice. The sincerity of the lyrical monologue is confession. The theme of creativity, the mission of the poet, the meaning of poetry in Tsvetaeva’s work. Theme of the Motherland. Folklore origins of poetics. The tragedy of Tsvetaeva’s poetic world, determined by the tragedy of the era (revolution, civil war, forced emigration, longing for the Motherland). The originality of poetic vocabulary and syntax. The ethical maximalism of the poet and the technique of sharp contrast in the confrontation between the poet, the creator and the mob, the world of ordinary people, “newspaper readers.” Images of Pushkin, Blok, Akhmatova, Mayakovsky, Yesenin in Tsvetaev’s works.
Theory of literature. Poetic lyrical cycle (deepening the concept), folklorism of literature (deepening the concept), lyrical hero (deepening the concept).
Mikhail Alexandrovich Sholokhov.
"Quiet Don" - an epic novel about a national tragedy. The history of the creation of the Sholokhov epic. "Don Stories" as an approach to the novel. The breadth of the epic narrative. Heroes of the epic. The system of images of the novel. Family theme in the novel. Melekhov family. Lifestyle, way of life, system of moral values of the Cossacks. The image of the main character. The tragedy of an entire people and the fate of one person. The problem of humanism in the epic. Women's destinies in the novel. The function of landscape in the work. Sholokhov as a master of psychological portrait. Affirmation of high moral values in the novel. Traditions of L. N. Tolstoy in the prose of M. A. Sholokhov. The artistic originality of Sholokhov's novel. Artistic time and artistic space in the novel. Sholokhov traditions in Russian literature of the 20th century.
Literary theory . Epic novel (consolidation of the concept). Artistic time and artistic space (deepening concepts). Traditions and innovation in artistic creativity (development of ideas).
LITERATURE OF THE GREAT PATRIOTIC WAR.
Review.
Literature of “pre-threat”: two opposing views on the inevitably approaching war. Poetry as the most operative genre (poetic appeal, slogan, experience of loss and separation, hope and faith). Lyrics by A. Akhmatova, B. Pasternak, N. Tikhonov, M. Isakovsky, A. Surkov, A. Prokofiev, K. Simonov, O. Berggolts, Dm. Kedrina et al.; songs A. Fatyanova; poems "Zoe"M. Aliger,"February Diary"O. Berggolts,"Pulkovo Meridian"V. Inber,"Son"P. Antokolsky,"Russia"A. Prokofiev. An organic combination of high patriotic feelings with deeply personal, intimate experiences of the lyrical hero.
Intensifying attention to the heroic past of the people in lyrical and epic poetry, the generalized symbolic sound of declarations of love for native places and close people.
A man at war, the truth about him. Cruel realities and romance in the description of war. Essays, stories, novellas A. Tolstoy, M. Sholokhov, K. Paustovsky, B. Gorbatov, A. Platonov, V. Grossman and etc.
The deepest moral conflicts, special tension in the confrontation of characters, feelings, beliefs in the tragic situation of war: dramaturgy K. Simonova, L. Leonova. Fairy tale play E. Schwartz"The Dragon",
The importance of literature from the period of the Great Patriotic War for prose, poetry, drama of the second half of the 20th century.
LITERATURE OF THE 50-90SXXCENTURIES.
Literature review of the second halfXXcentury.
A new understanding of the military theme in creativity Y. Bondareva, V. Bogomolova, G. Baklanova, V. Nekrasova, K. Vorobyova, V. Bykova, B. Vasilyeva and etc.
New themes, ideas, images in the poetry of the Thaw period (B. Akhmadulina, R. Rozhdestvensky, A. Voznesensky, E. Evtushenko and etc.). Features of the language, versification of young poets of the sixties. Poetry developing in line with the traditions of Russian classics: V. Sokolov, V. Fedorov, N. Rubtsov, A. Prasolov, N. Glazkov, D. Samoilov, L. Martynov, E. Vinokurov, S. Starshinov, Yu. Drunina, B Slutsky, S. Orlov and others.
"City" prose: D. Granin, Y. Trifonov, V. Makanii and others. Moral issues and artistic features of their works.
"Village" prose. Depiction of the life of the peasantry; the depth and integrity of the spiritual world of a person, vitally connected with the earth, in stories S. Zalygina, V. Belova, V. Astafieva, B. Mozhaeva, F. Abramova, V. Shukshina, V. Krupina and etc.
Dramaturgy. Moral issues of plays A. Volodina("Five Evenings")A. Arbuzova(“Irkutsk Story”, “Cruel Intentions”),V. Rozova("Good hour!", "Gill wood grouse's nest"),A. Vampilova(“Last Summer in Chulimsk”, “Eldest Son”) and etc.
Literature of Russian Abroad. Names and works returned to Russian literature (V. Nabokov, V. Khodasevich, G. Ivanov, G. Adamovich, B. Zaitsev, M. Aldanov, M. Osorgin, I. Elagin).
The diversity of assessments of the literary process in criticism and journalism.
Author's song. Its place in the development of the literary process and musical culture of the country (content, sincerity, attention to the individual; methodological richness, modern rhythm and instrumentation). Song creativity A. Galich, Y. Vizbor, V. Vysotsky, B. Okudzhava, Y. Kim and etc.
Alexander Trifonovich Tvardovsky.
Life and art. Personality and creativity (review).
Poems: “The whole point is in one single covenant...”, “In memory of the mother,” “I know, it’s not my fault...” (these works are required to study).
“On the day the war ended...”, “The torn base of the monument is being crushed...”, “In memory of Gagarin.” (You can choose 3 other poems.)
Lyrics of the greatest Russian epic poet of the 20th century. Reflections on the present and future of the homeland. A sense of involvement in the fate of the country, the affirmation of high moral values. The desire to understand the origins of the victories and tragedies of the Soviet people. The sincerity of the poet's confessional intonation. Nekrasov tradition in the poetry of A. Tvardovsky.
Theory of literature. Traditions and innovation in poetry (consolidation of the concept). Citizenship of poetry (development of ideas). Elegy as a genre of lyric poetry (consolidation of the concept).
Boris Leonidovich Pasternak.
Life and creativity (review).
Poems: "February. Get some ink and cry!..”, “Definition of poetry”, “I want to achieve everything...”, “Hamlet”, “Winter Night”(these works are required to study).
“Marburg”, “Summer”, “Being famous is ugly...”. (You can choose 3 other poems.) The theme of the poet and poetry in Pasternak’s work. The poet's love lyrics. Philosophical depth of thought. The desire to comprehend the world, to “get to the very essence” of phenomena, surprise at the miracle of existence. Man and nature in Pasternak's poetry. Pushkin's motives in the poet's lyrics. Pasternak the translator.
Novel "Doctor Zhivago" (survey study with analysis of fragments). The history of the creation and publication of the novel. The genre originality and composition of the novel, its combination of prose and poetry, epic and lyrical principles. Images-symbols and cross-cutting motifs in the novel. The image of the main character is Yuri Zhivago. Women's Images in the Novel.
Cycle "Poems of Yuri Zhivago" and its organic connection with the problematics and poetics of the novel. Traditions of Russian classical literature in the works of Pasternak.
Alexander Isaevich Solzhenitsyn.
Life. Creation. Personality (review).
Tale "One day in the life of Ivan Denisovich." The originality of the disclosure of the “camp” theme in the story. The image of Ivan Denisovich Shukhov. Moral strength and stability in the quagmire of camp life. The problem of Russian national character in the context of a tragic era.
Theory of literature. Prototype of a literary hero (consolidation of the concept). Life as a literary narrative genre (consolidation of the concept).
Varlam Tikhonovich Shalamov.
Life and creativity (review).
Stories “To the show”, “Sentence”. (A choice of 2-3 other stories is possible.) The autobiographical nature of V. T. Shalamov’s prose. Life-like authenticity, almost documentary quality of the “Kolyma stories” and the depth of the problems raised by the writer. The study of human nature “in an extremely important, not yet described state, when a person approaches a state close to the state of humanity.” The nature of the story. The image of the narrator. Innovation of Shalamov the prose writer.
Theory of literature. Novella (consolidation of the concept). Psychologism of fiction (development of ideas). Traditions and innovation in fiction (development of ideas).
Nikolai Mikhailovich Rubtsov.
Life and creativity (review).
Poems “Visions on the Hill”, “Russian Light”, “I will ride over the hills of my slumbering homeland...”, “Star of the Fields”, “In the Upper Room”.
The main themes and motives of Rubtsov's lyrics are the Motherland, Rus', its nature and history, the fate of the people, the spiritual world of man, his moral values: beauty and love, life and death, joys and suffering. The dramatic nature of the poet’s worldview, conditioned by the events of his personal fate and the fate of the people. The interaction of romantic and realistic principles, symbolism and everyday life as a characteristic feature of the stylistic originality of Rubtsov’s lyrics. Traditions of Tyutchev, Fet, Yesenin in Rubtsov’s poetry.
Viktor Petrovich Astafiev.
Life and creativity (review).
“The King Fish”, “The Sad Detective”. (One piece of your choice.) The relationship between man and nature in “The King Fish.” The loss of moral guidelines is the main problem in the novel "The Sad Detective".
Valentin Grigorievich Rasputin.
Life and creativity (review).
“Deadline”, “Farewell to Matera”, “Live and Remember”. (One piece of your choice.) The theme of “fathers and sons” in the story “The Deadline.” The people, their history, their land in the story “Farewell to Matera.”
The moral greatness of the Russian woman, her selflessness. Connection of the main themes of “Live and Remember” With traditions of Russian classics.
Joseph Alexandrovich Brodsky.
Life and creativity (review).
Poems: “The Autumn Cry of a Hawk”, “On the Death of Zhukov”, “Sonnet” (What a pity that what it became for me...). (You can choose 3 other poems.)
The breadth of the problematic and thematic range of Brodsky's poetry. “The naturalness and organicity of the combination in it of cultural-historical, philosophical, literary-poetic and autobiographical layers, realities, associations, merging into a single, living stream of relaxed speech, crystallized into a masterfully organized poetic form” (V. A. Zaitsev). Traditions of Russian classical poetry in the works of I. Brodsky.
Theory of literature. Sonnet as a poetic form (development of the concept).
Bulat Shalvovich Okudzhava.
A word about the poet.
Poems: “Goodbye boys”, “You flow like a river. Strange name...”, “When I can’t overcome adversity...”. (You can choose other poems.)
Memory of the war in the lyrics of a front-line poet. Poetry of the Thaw and song creativity of Okudzhava. Arbat as a special poetic universe. Development of romantic traditions in Okudzhava’s poetry. Intonations, motives, images of Okudzhava in the works of modern bard poets.
Theory of literature. Literary song. Romance. Bard song (development of ideas).
"Urban" prose in modern literature
Yuri Valentinovich Trifonov.
Life and creativity (review).
Tale "Exchange". Urban prose and stories by Trifonov. Understanding the “eternal themes” of human life against the backdrop and in the conditions of urban life. The problem of human moral freedom in the face of circumstances. The semantic ambiguity of the title of the story. Subtle psychologism of the writer. Traditions of A.P. Chekhov in the prose of Yu.V. Trifonov.
Theory of literature. Psychologism of fiction (deepening the concept). The story as a genre of narrative literature (deepening the concept).
Themes and problems of modern dramaturgy
Alexander Valentinovich Vampilov.
A word about the playwright.
Play "Duck Hunt" (You may choose another dramatic work.)
Problems, main conflict and system of images in the play. The originality of its composition. The image of Zilov as an artistic discovery of a playwright. Psychological duality in the character of the hero. The meaning of the ending of the play.
From the literature of the peoples of Russia.
Mustai Karim. Life and work of the Bashkir poet, prose writer, playwright (review).
Poems: "The wind will blow - more and more leaves...", "Melancholy", "Come on, dear, let's pack our belongings and clothes...", "I'm releasing the birds." (You can choose other poems.)
Lyrics by Mustai Karim. Reflection of the eternal movement of life, enduring moral values in the poet’s lyrics. The theme is the memory of native places, the wisdom of ancestors, captured in songs and legends. Unconsciousness is the most serious sin both for an individual and for all humanity. The poet's love lyrics. Deep psychologism of Mustai Karim's lyrics.
Theory of literature. National and universal in fiction (development of ideas).
LITERATURE ENDXX- STARTEDXXICENTURIES
A general overview of the works of the last decade.
Prose: V. Belov, A. Bitov, V. Makanin, A. Kim, E. Nosov, V. Krupin, S. Kaledin, V. Pelevin, T. Tolstaya, L. Petrushevskaya, V. Tokareva, Yu. Polyakov and etc.
Poetry: B. Akhmadulina, A. Voznesensky, E. Evtushenko, Y. Drunina, L. Vasilyeva, Y. Moritz, N. Tryapkin, A. Kushner, O. Chukhontsev, B. Chichibabin, Y. Kuznetsov, I. Shklyarevsky, O. Fokina, D. Prigov, T. Kibirov, I. Zhdanov, O. Sedakova and others.
FROM FOREIGN LITERATURE
George Bernard Shaw (2 hours)
A word about the writer.
"Heartbreak House", "Pygmalion".
(Review study of one of the plays chosen by the teacher and students.)
"The House Where Hearts Break." The influence of A. P. Chekhov on the dramaturgy of D. B. Shaw. "English fantasy on Russian themes." The writer's skill in creating individual characters. Labor as a creative and purifying force.
"Pygmalion". The power of social prejudices over people's consciousness. The problem of the spiritual potential of the individual and its implementation. Characters of the main characters of the play. Open final. Stage history of the play.
Theory of literature. Paradox as an artistic device.
Thomas Stearns Eliot.
A word about the poet.
Poem "Love Song of J. Alfred Prufrock." Anxiety and confusion of man at the turn of the new era, which began with the First World War. The author's irony. Parodic use of motifs from classical poetry (Dante, Shakespeare, John Donne, etc.).
Ernest Miller Hemingway.
A word about the writer with a brief description of the novels “The sun also rises”, “Farewell to arms!”.
Tale "The Old Man and the Sea" as a result of the writer’s long moral quest. The image of the main character is old man Santiago. The unity of man and nature. Self-control and fortitude of the hero of the story (“a person can be destroyed, but he cannot be defeated”).
Erich Maria Remarque.
A word about the writer.
"Three Comrades" (review study of the novel). E.M. Remarque as the most prominent representative of the “lost generation”. The tragic concept of life in the novel. The desire of the novel's heroes to find their place in life, based on humanistic values: solidarity, willingness to help, friendship, love. The originality of the writer’s artistic style (features of dialogues, internal monologues, psychological subtext).
Literary theory . Internal monologue (consolidation of the concept).
Repetition (3 hours)
REQUIREMENTS FOR THE LEVEL OF GRADUATE TRAINING
As a result of studying literature, the student should
know/understand:
The figurative nature of verbal art;
Content of the studied literary works;
Basic facts of the life and work of classical writers of the 19th-20th centuries, stages of their creative evolution;
Historical and cultural context and creative history of the works being studied;
Basic laws of the historical and literary process; information about individual periods of its development; features of literary movements and trends;
Basic theoretical and literary concepts;
be able to:
Reproduce the content of a literary work;
Analyze and interpret a literary work using information on the history and theory of literature (artistic structure, themes, problems, moral pathos, system of images, features of composition, artistic time and space, figurative and expressive means of language, artistic detail);
Analyze an episode (scene) of the studied work, explain its connection with the problems of the work;
Correlate fiction with facts of social life and culture;
Reveal the role of literature in the spiritual and cultural development of society;
Reveal the specific historical and universal content of the studied literary works;
Connect literary classics with the time of writing, with modernity and with tradition;
Identify “cross-cutting themes” and key problems of Russian literature;
Correlate the work being studied with the literary direction of the era; highlight the features of literary movements and movements when analyzing a work;
Determine the genre and generic specificity of a literary work;
Compare literary works, as well as their various artistic, critical and scientific interpretations;
Formulate your attitude to the work you read in a reasoned manner;
draw up plans and abstracts of articles on literary topics;
write reviews of works read and essays of various genres on literary topics;
use acquired knowledge and skills in practical activities and everyday life.
Calendar-thematic planning for literature in 11th grade
| № p/p | Lesson topic | date | Homework |
|
|||
| 1 | Russian literature in the context of world artistic culture of the twentieth century. Main directions, themes and problems of Russian literature of the twentieth century. | ||
|
|||
| Realist writers of the early twentieth century. |
|||
| 2 | I.A. Bunin. Life and art. Lyricism, sophistication, philosophy and laconicism of Bunin's poetry. Poems “Epiphany Night”, “Dog”, “Loneliness”, “The Last Bumblebee”, “Song”. | ||
| 3-4 | Story by I.A. Bunin “Mr. from San Francisco” (socio-philosophical generalizations, poetics) | ||
| 5 | The theme of love in the story by I.A. Bunin "Clean Monday". The originality of the lyrical narrative in the writer’s prose | ||
| 6 | Psychologism and features of the “external figurativeness” of Bunin’s prose | ||
| 7-8 | A.I. Kuprin. Life and art. The problem of personal self-knowledge in the story “The Duel”. | ||
| 9 | Problematics and poetics of the story “Garnet Bracelet” | ||
| 10 | Preparing for a home essay on the works of I.A. Bunin or A.I. Kuprina (author by choice) | ||
| 11 | M. Gorky. Life and art. Early Romantic Stories. | ||
| 12 | "Old Isergil". Problems and features of the story composition. | ||
| 13 | “At the Bottom” as a socio-philosophical drama. Innovation of Gorky the playwright. Stage fate of the play. | ||
| 14-15 | Three truths in the play “At the Lower Depths”, its social, moral and philosophical issues. The meaning of the play's title. | ||
| 16 | Test on the works of M. Gorky. | ||
| Silver age of Russian poetry. |
|||
| Symbolism. Russian symbolism and its origins. "Senior Symbolists" and "Young Symbolists". | |||
| 18 | V.Ya. Bryusov as the founder of symbolism in Russian poetry. Poems “Creativity”, “To the Young Poet”, “Bricklayer”, “The Coming Huns”. | ||
| 19 | Lyrics of symbolist poets. K.D. Balmont. Andrey Bely and others. | ||
| Acmeism. Western European and domestic sources of Acmeism. Article by N. Gumilyov “The Heritage of Symbolism and Acmeism” as a declaration of Acmeism. | |||
| 21 | N.S. Gumilev. A word about the poet. Problematics and poetics of N. Gumilyov's lyrics. | ||
| Futurism. Futurism as a literary movement. Russian futurists. Searches for new poetic forms in the lyrics of I. Severyanin. Homework on Silver Age poetry. | |||
| 23 | A.A. Block. Life and art. Block and symbolism. Themes and images of early lyrics. "Poems about a Beautiful Lady" | ||
| 24 | The theme of a terrible world in the lyrics of A. Blok. “Stranger”, “Night, street, lantern, pharmacy...”, “In a restaurant”, “Factory”. | ||
| 25 | The theme of the Motherland in the lyrics of A. Blok. “Russia”, “The river spreads out...”, “On the railway”. The historical path of Russia in the cycle “On the Kulikovo Field”. | ||
| 26-27 | A. Blok's poem "The Twelve". The history of creation, the complexity of the artistic world of the poem. The author's position and ways of expressing it in the poem. | ||
| New Peasant Poetry (review) Artistic and ideological and moral aspects of new peasant poetry. ON THE. Klyuev. Life and creativity (review). | |||
| 29 | S.A. Yesenin. Life and art. Early lyrics. “Go away, my dear Rus'!”, “Letter to Mother.” | ||
| 30 | The theme of Russia in the lyrics of S.A. Yesenina. “I left my home…”, “Soviet Rus'”, “The feather grass is sleeping. Dear Plain...”, “Returning to the Homeland”, etc. | ||
| 31 | Love theme in the lyrics of S.A. Yesenina. “Do not wander, do not crush in the crimson bushes...”, “Kachalov’s dog”, “You are my Shagane, Shagane...”. | ||
| 32 | The theme of the transience of human existence in the lyrics of S.A. Yesenina. The tragedy of the perception of the death of the Russian village. “I don’t regret, I don’t call, I don’t cry...”, “Now we are leaving little by little...”, “Sorokoust” | ||
| 33 | Poetics of Yesenin’s cycle “Persian Motifs” | ||
|
|||
| 34 | General characteristics of the literary process of the 20s of the twentieth century. Literary associations. | ||
| 35 | Poetry of the 20s. The theme of Russia and revolution: tragic comprehension in the works of poets of the older generation. Searches for the poetic language of a new era, experiments with words. Russian emigrant satire. | ||
| 36 | The theme of revolution and civil war in the works of writers of a new generation. A. Fadeev. "Destruction." | ||
| 37-38 | V.V. Mayakovsky. Life and art. The artistic world of early lyric poetry. “Could you?”, “Listen!”, “Violin and a little nervous.” The pathos of the revolutionary reorganization of the world. Satirical pathos of the lyrics (“Seated”) | ||
| 39 | The originality of V.V.’s love lyrics Mayakovsky. “Lilichka!”, “Letter to Comrade Kostrov from Paris” of the essence of love”, “Letter to Tatyana Yakovleva” | ||
| 40 | The theme of the poet and poetry in the works of V.V. Mayakovsky. “Anniversary”, “Conversation with the financial inspector about poetry”, “To Sergei Yesenin”. Homework on the works of A.A. Bloka, S.A. Yesenina, V.V. Mayakovsky (optional) | ||
|
|||
| 41 | Literature of the 30s of the XX century (review). The complexity of creative searches and literary destinies in the 30s. | ||
| 42 | M.A. Bulgakov. Life and art. M. Bulgakov and the theater. | ||
| 43-44 | The history of the creation and publication of the novel “The Master and Margarita”. The role of the epigraph. Multifaceted and multi-level storytelling. | ||
| 45-46 | The originality of the genre and composition of the novel “The Master and Margarita”. Traditions of European and Russian literature in the novel. Preparing for your home essay. | ||
| 47 | Test work for the first half of the year | ||
| 48 | A.P. Platonov. Life and art. The story “The Pit” (review study) | ||
| 49 | A.A. Akhmatova. Life and art. Artistic originality and poetic mastery of A. Akhmatova’s love lyrics. “Song of the last meeting”, “Clenched hands under a dark veil”. | ||
| 50 | The fate of Russia and the fate of the poet in lyrics.A. Akhmatova. “I don’t need odic armies...”, “I had a voice. He called comfortingly…”, “Native Land”, etc. | ||
| 51-52 | Poem by A.A. Akhmatova "Requiem". The tragedy of the people and the poet. The theme of the court of time and historical memory. Features of the genre and composition of the poem. | ||
| 53-54 | O.E. Mandelstam. Life and art. Culturological origins and musical nature of aesthetic experience in the poet’s lyrics. The tragic conflict between the poet and the era. “Notre Dame”, “Insomnia. Homer. Tight sails...", "I returned to my city, we know each other to tears...", etc. | ||
| 55 | M.I. Tsvetaeva. Life and art. The theme of creativity, poet and poetry in the lyrics of M.I. Tsvetaeva. “To my poems, written so early...”, “Poems to Blok”, “Who is created from stone, who is created from clay...” | ||
| 56 | The theme of the Motherland in the works of M. Tsvetaeva. "Homesickness! A long time ago...", "Poems about Moscow". The originality of the poetic style. | ||
| 57 | An essay based on the works of A. Akhmatova, O. Mandelstam or M. Tsvetaeva. | ||
| 58 | M.A. Sholokhov. Life. Creation. Personality (review). | ||
| 59 | The history of the creation of the epic novel "Quiet Don". | ||
| 60 | System of images of the novel "Quiet Don". The theme of family in the novel. Melekhov family. | ||
| 61-62 | The image of the main character in the novel "Quiet Don". The tragedy of an entire people and the fate of one person. | ||
| 63 | Women's destinies in the novel "Quiet Don". Sholokhov as a master of psychological portrait. | ||
| 64-65 | The artistic originality of Sholokhov's novel. Artistic space and time in the novel. | ||
| 66-67 | Essay based on the novel by M.A. Sholokhov "Quiet Don" | ||
|
|||
| 68 | Literature of the Great Patriotic War: poetry, prose, drama (review) | ||
|
|||
| 69 | Literature of the second half of the 20th century (review). | ||
| 70 | Poetry of the 60s of the XX century. | ||
| 71 | A new understanding of the military theme in the literature of the 50-90s. V. Bykov. Yu. Bondarev, K. Vorobiev. B. Vasiliev. (one piece of your choice) | ||
| 72 | A.T. Tvardovsky. Life and art. Lyrics by A.T. Tvardovsky. Reflections on the present and future of the Motherland. | ||
| 73 | Understanding the theme of war in the lyrics of A.T. Tvardovsky. | ||
| 74-75 | B.L. Parsnip. Life and art. The main themes and motives of poetry. The philosophical nature of the lyrics. "February. Get some ink and cry...", "Definition of Poetry", "Hamlet", etc. | ||
| 76-77 | Roma "Doctor Zhivago" (review study with analysis of fragments). History of creation, genre originality and composition. The cycle “Poems of Yuri Zhivago”. | ||
| 78-79 | A.I. Solzhenitsyn. Life. Creation. Personality. (review) The story “One Day in the Life of Ivan Denisovich.” The originality of the disclosure of the “camp theme” in the story. | ||
| 80 | V.T. Shalamov. Life and art. Problematics and poetics of “Kolyma Tales” (“To the Presentation”, “Sentence”) | ||
| 81 | N.M. Rubtsov The main themes and motives of the lyrics and its artistic originality. “Visions on the Hill”, “Russian Light”, “Star of the Fields”, “In the Upper Room”. | ||
| 82-83 | “Village” prose in Russian literature. V.P. Astafiev. The relationship between man and nature in the novel “The Tsar Fish”. | ||
| 84-85 | V.G. Rasputin. The people, their history, their land in the story “Farewell to Matera.” | ||
| 86 | I.A. Brodsky. The breadth of the problematic and thematic range of Brodsky's poetry. “The Autumn Cry of a Hawk”, “To the Death of Zhukov”, “Sonnet”. | ||
| 87 | B.Sh. Okudzhava. A word about the poet. Memory of the war in the lyrics of a front-line poet. Poetry of the “Thaw” and Okudzhava’s songwriting. Arbat as a special poetic universe. | ||
| 88 | Author's song. Its place in the development of the literary process and musical culture of the country. Song creativity of V. Vysotsky. | ||
| 89 | “City” prose and stories by Yu.V. Trifonova. The story "Exchange". | ||
| 90 | Themes and images of modern drama (A. Volodin, A. Arbuzov, V. Rozov). A.V. Vampilov. "Duck Hunt" Problems, conflict, system of images, composition of the play. | ||
| 91-92 | Essay on literature of the 50-90s | ||
| From the literature of the peoples of Russia M. Karim. The life and work of the Bashkir poet, prose writer, playwright. “The wind will blow - more and more leaves...”, “Melancholy”, “Come on, dear, let’s put away our belongings and clothes...”, “I’m releasing the birds...” Theme of memory of native places, the wisdom of ancestors.. | |||
|
|||
| 94 | Main directions and trends in the development of modern literature. Prose | ||
| 95 | Main directions and trends in the development of modern literature. Poetry | ||
|
|||
| 96 | D.B. Show. "The House Where Hearts Break." The writer's skill in creating individual characters. | ||
| 97 | T.S. Eliot. A word about the poet. "The Love Song of J. Alfred Prufrock." Parodic use of motifs from classical poetry. | ||
| 98 | EM. Hemingway. A word about the writer. Brief description of the novels “The Sun Also Rises”, “A Farewell to Arms!”. Spiritual and moral problems of the story “The Old Man and the Sea” | ||
| 99 | EM. Remarque as a representative of the “lost generation”. The tragic concept of life in the novel “Three Comrades”. | ||
| 100 | Repeating and generalizing lesson “Problems and lessons of literature of the twentieth century.” | ||
| 100-102 | Reserve lessons | ||
Teaching materials and additional literature on the course
| Academic subject | Literature |
| Training program | Literature: programs of educational institutions. Grades 5-11 (basic level). M.: Education, 2010. |
| Textbook(s) | Literature: textbook for grade 11: in 2 hours/ed. V.P. Zhuravleva. – M.: Education, 2010. |
| Methodological manual for teachers | Literature lessons: 11th grade. Book for teachers / ed. V.P. Zhuravleva. M.: Education, 2009. |
| Monitoring tools | Literature. Test work. 10-11 grades. A manual for teachers of general education institutions / Comp. N.V. Belyaeva. M.: Education, 2012. |
