Memoir literature

Memoir literature

1. Scope and composition of the concept.
2. Class determination of memoir genres.
3. Questions of reliability of M. l.
4. Techniques for examining M. l.
5. The meaning of memoirs.
6. Main historical milestones of M. l.

1. SCOPE AND COMPOSITION OF THE CONCEPT.- M. l. (from the French memoire - memory) - works of writing that consolidate in one form or another the memories of their authors about the past. Sometimes approaching fiction, in particular, for example. to such genres as family chronicle (see) and different kinds historical fiction, M. l. However, it differs from them in the desire to accurately reproduce a certain area of ​​reality. Unlike fiction works of memoir literature carry exclusively or predominantly cognitive functions without any special artistic installations. However, it is sometimes extremely difficult to draw a clear line between them and fiction. Neither “The Diary of Kostya Ryabtsev” by Ognev, nor “Confessions d’un enfant du siecle” by Musset with the works of M. l. are not. But already in Dickens’s “David Copperfield” or especially in S. Aksakov’s “Family Chronicle” we find a huge number of autobiographical realities, which form the basis of literary and artistic treatment. It is quite possible here Feedback- in the monuments of M. l. There may be, to one degree or another, a desire for artistic expressiveness. Thus, the memoirs of an Italian adventurer of the 18th century. Casanova is no stranger to the techniques of the gallant adventure novel of the Rococo era, and the memoirs of the Decembrist N. A. Bestuzhev are written in a clearly idealizing everyday manner, following the models of the classical biographies of Plutarch. The combination of the aspects of “reliable” and “fiction” in a memoir creates enormous difficulties for a biographer of a writer or a researcher of his work (a classic example of this fusion is Goethe’s “Dichtung und Warheit”). The proportion of the relationship between both elements can vary extremely greatly: the elements of fiction, almost completely dominant in Stern’s “Sentimental Journey,” fade into the background in Karamzin’s “Letters of a Russian Traveler,” an elaborate diary written by Karamzin during his trip to the West. Europe; This work stands at the border between artistic and literary works. The latter often turns out to be deeply fruitful for literature: thus, “Chapaev” by Furmanov, being an artistic generalization of a certain period and corner of the civil war, at the same time retains a greater degree of closeness to reality, which undoubtedly increases the reader’s attention and contributes to the success of the work.
Quite a lot different genres M. l. often intertwined with each other. The primary and, in a certain sense, the most primitive form of M. l. is a diary - daily or periodic entries by the author, outlining the events of his personal life against the background of the events of contemporary reality (the latter, however, is not always necessary). The diary represents the primary form of M. l. - there is no general perspective of events here, and the narrative is based on the molecular connection of the records, united by the unity of the person presenting them, the system of his views. An example of this type is the recently published “Diaries” of M. Shahinyan. Memories or notes are a more complex and frequent form of M. l. Here the author gets the opportunity to look back from a perspective, cover a larger period of time and analyze its events from the point of view of a certain ideological concept. There is less randomness in memories; they contain much more elements of selection and screening out events. The third form can be considered an autobiography, shorter than memoirs in scope and covering the most important and turning points in the history of a person (memories can tell about reality in general, but for an autobiography it is necessary to find the personality at the center of the story). An autobiography is often written for special reasons - e.g. a writer reviewing his creative path (see the collection of autobiographies “Our First Literary Steps” by N. N. Fidler, “Writers about themselves,” Edited by V. Lidin, etc.). An autobiography dedicated to certain, especially turning-point events in the life of a writer, is often also called a confession (cf., for example, “Confession” of L. Tolstoy, written by him after a creative turning point in 1882, or the dying “Author’s Confession” of Gogol). This term, however, is not entirely defined, and for example. Rousseau's Confessions are more of a memoir. If the center of gravity is transferred from the author to persons with whom he was connected in some way in the past, a form of biographical memories arises. These are eg. memoirs of N. Prokopovich about Gogol, Gorky about L. Tolstoy, which do not provide a complete scientific biography, but provide the most valuable material for it. Finally, if memories of a loved one are written in connection with his death and under its direct impression, we have the form of an obituary.
It must be noted that this classification is schematic and in itself does not determine the genre essence of a particular work by M. L., although it brings us closer to revealing this essence. Study of forms of M. l. must be specific: only then will typological analysis be saturated with specific class content and give us a complete understanding of the essence of those socio-political tendencies that define this or that genre of literary fiction. Abstract study of M. l. outside the processes of class struggle that create it is absolutely fruitless.

2. CLASS DETERMINITY OF MEMOIRS GENRES.- In literary studies of the past, attempts have been made repeatedly to establish the general formal characteristics of literary fiction. These attempts were not in any way successful. Features characteristic of memoir works of some eras cease to be mandatory in other eras; the products of some class groups are radically different from works that express a different class ideology and serve a different class practice. The Lefovites cultivated M. l. for its “factuality” in contrast to fiction, supposedly based on “fiction”. It is not difficult to discover the fictitiousness of this division: memoirs very often embellish reality, depict it from a certain angle, and outright distortion of facts. Smirnova’s “Notes” do not cease to be a fact M. l. because they contain a lot of unreliable and downright erroneous things.
Timeless features do not define the being of a literary form; the form and content of the cut are determined by the interweaving of specific socio-historical conditions. In such memoirs as “Bolotov’s Notes,” on the one hand, and “The History of My Contemporary” by V. G. Korolenko, on the other, there is nothing in common except the desire for the most truthful depiction of the past, a desire manifested in different content and various forms between two representatives of different classes in two profoundly different historical eras. Studying memoirs outside their specific class context inevitably leads to idealistic abstractions.
Being a specific form of manifestation of certain styles, memoir genres are determined in all their features by the same socio-economic conditions that determine styles, and serve the same goals of class practice. The memoirs of S. T. Aksakov, created by a representative of landowner Slavophilism, differ significantly from the memoirs of I. A. Khudyakov, a representative of the revolutionary raznochinstvo, who expressed the interests of the revolutionary peasant democracy of the 60s. Aksakov’s memoirs (“Family Chronicle”, “Childhood of Bagrov’s Grandson”) depict the everyday idyll of a noble estate late XVIII and the beginning of the 19th century, idyllically interpreting even the ugliest aspects of this life (“good day” of the landowner, including kicks to the servants), give a picture of the upbringing, life and training of a nobleman-young man in the conditions of an established, calm, prosperous estate life, illuminating as a necessity the most severe bullying of serfs (grandfather’s “sin” and other episodes). Aksakov’s memoirs, a genre telling about the family estate life of a noble family at the end of the 18th century, idealize the bygone world, to which the Slavophile landowner gravitated with his social cult of the ancient landowner system. Thus, the artistic memoirs of S. T. Aksakov in the class struggle performed the political function of protecting noble estate land ownership at the time of the intensification of the revolutionary struggle against feudalism in Russia, when it had been brewing since the late 50s. revolutionary situation wrested the “liberation of the peasants” from serfdom.
The memoirs created by the revolutionary democrat and Karakoz resident I. A. Khudyakov are different. I. A. Khudyakov is a representative of the vanguard of revolutionary populism of the 60s, a supporter of the political revolution in the interests of the peasantry and the “people” in general. Undoubtedly sharing the views on the asceticism of a revolutionary and the “severe discipline of personal life” common to the entire Ishutin circle, he gave his memoirs different stylistic and genre features than the representative of landownership. The memoir genre of I. A. Khudyakov, reflecting the socio-political life of the era of the 60s, is an expression of “the second stage of the revolution - the raznochinsky or bourgeois-democratic stage,” according to Lenin. If the landowner-memoirist poeticized his past, his childhood and youth, the revolutionary commoner regarded this past as an irreparable evil. “Our life,” Khudyakov states in the preface regarding his upbringing, “remained broken and broken and was filled with a number of physical and moral sufferings.” I. A. Khudyakov recognized the benefits of “autobiographies, frankly written,” the character of which he imagined as follows: “Real life is always more instructive than fictional; and in this respect well-written biographies are always more instructive than novels.” In an essay about his life, he “omitted those particular details that could have been a godsend for a novelist or artist,” and gave an image of “his unsuccessful struggle with the most severe obstacles to the achievement of the human ideal.” The author's class position and worldview determine the specific historical features of this memoir genre.
Differentiation of memoir genres also exists within a single class style. The memoirs of S. I. Kanatchikov “The History of My Life” and A. E. Badaev “Bolsheviks in the State Duma” are works by representatives of the working class, created almost simultaneously during the era of the construction of socialism (1928-1929). While there is a unity of class consciousness and class experience between these two memoirists, their memoirs represent different genres. “The History of My Life” by S. I. Kanatchikov is a social and everyday memoir, the memoirs of A. E. Badaev are socio-political. S.I. Kanatchikov paints a picture of the gradual growth and transformation of a village boy into a conscious worker, proletarian. Against the backdrop of hard working life in the factories of Moscow and St. Petersburg, the process of formation of a young proletarian, a conscious fighter for the interests of the proletariat, in conditions of capitalist exploitation, the path of his cultural growth and political development and the fight against capitalism are shown. The memoirs of A. E. Badaev reveal the political struggle of the Bolshevik faction in the State Duma in the last years before the revolution of 1917. They describe the revolutionary events of the last years of the existence of the monarchy and show how the activities of the faction were reflected in the revolutionary struggle of the working class and how, in turn, certain moments mass workers' movement were reflected in the work of the faction. These two memoirs give different aspects of a single class experience. Since the authors, representatives of the same class, paid attention to different aspects of reality, they created different genres within the single style of proletarian literature. Nevertheless, these are genres of one class experience - representatives of proletarian socialism.
Each memoirist shows only those facts on which his class consciousness is concentrated, grouping and interpreting the facts from his own class position in the interests of the class struggle. The social and class interests of the author of the memoirs are determined, for example. the fact that A. Galakhov, a representative of the reactionary nobility of the 40s, speaking in his memoirs about 1825, did not say a word about the Decembrist uprising. On the contrary, A. I. Herzen, who belonged to the “generation of noble landowner revolutionaries of the first half of the last century,” in which “despite all the fluctuations between democracy and liberalism, the democrat still prevailed” (Lenin), gave an enthusiastic assessment of the Decembrist uprising as ideological fighters against tsarism, infecting their descendants with their example.
Class consciousness and class interests, while determining the themes of memoirs, of course also determine the memoirist’s point of view on the phenomena depicted, on their coverage and interpretation. From here it is clear that the same phenomenon (event, person, fact of literature or journalism) in the memories of representatives of different social groups receives not only a different assessment, but also a different presentation of the sequence of the event or a different retelling of what was heard and seen. L. Tolstoy, in the memoirs of his like-minded people, receives the traditional iconographic appearance of a sentimental sage and non-resistance to evil. In the memoirs of M. Gorky, he is shown as a living person with bright features of contradictory psychology, through which Lenin saw a man in master Tolstoy. The question naturally arises, whose portrayal of L. Tolstoy is the most truthful, the most reliable, i.e., objectively historical? The memoirs closest to objective truth will be those that reflect the criticism and worldview of the advanced, revolutionary class of a given era. Gorky's memoirs represent the highest degree of objectivity in the knowledge and portrayal of L. Tolstoy, while the memoirs of the Tolstoyans do not provide a correct reflection of reality. The highest degree of objective historical knowledge of reality is also represented by the memoirs of proletarian revolutionaries in comparison with the memoirists of other groups (classes) who have gone to those active now. The revolutionary practice of the advanced class provides the most true, accurate and deep knowledge of phenomena.
The difference in class tendencies, determined by the difference in the class experience of different class groups (classes), creates deeply different and opposing genres of literary fiction. Single genre M. l. does not exist. The genres of literary fiction arising on different and opposing class foundations. different and opposite in both primary and secondary characteristics.

3. ISSUES OF RELIABILITY M. L.- The documentary form of M. l., the apparent “ingenuousness” of her narration does not, however, serve as a guarantee of its veracity. Memoirs suffer the usual fate of testimony, even in the absence of malicious distortion of reality; the author's class position, his worldview affect both the choice of facts, their coverage, and the conclusions from these facts; orientation of M. l. cannot but serve certain purposes of class practice. Tatishchev also took this point into account, determining the degree of reliability in Count Matveev’s report about the Streltsy revolt: “Sylvester Medvedev, a monk of the Chudov Monastery, and Count Matveev,” he says in his “Russian History,” “described the Streltsy rebellion, only in legends of the passions very they disagree and are more disgusted, because Count Matveev’s father was killed by archers, and Medvedev himself took part in that rebellion.” The idea that the study of M. l. does not require special proof. can be scientifically fruitful not only adjusted for the personal bias and direct interest of the authors (similar to those noted by Tatishchev), but first of all, subject to the disclosure of the specific historical class purposefulness of the memoirs, which fully retains its important role in cases where the author acts as a “third-party observer.” Memoirs, like any other literature of a class society, serve the purposes of ideological and political struggle against one or another class enemy. In this regard, references from the book. Kurbsky’s focus on “reliable men” does not prevent us from perceiving his notes as a sharp political pamphlet in his struggle with Ivan the Terrible or, more broadly, in the struggle of one group of landowners against another, which seized power in the Moscow state.
The class orientation of memoirs reduces their objective-cognitive function, usually if it comes from reactionary classes, exploiting classes interested in covering up the contradictions of reality. And vice versa, the consistent partisanship of representatives of the revolutionary classes increases the objective-cognitive value of their memoirs. In this regard, the highest level is represented by the corresponding records of proletarian revolutionaries, leaders of the working class, whose revolutionary practice, historical tasks and ultimate goals form the real basis for the most profound and accurate knowledge of the surrounding world. This is Lenin’s final brochure about the Second Congress of the RSDLP (“One step forward, two steps back,” 1904), which is a kind of “memoir” of one of the participants in the events. This work remains unsurpassed to this day as the pinnacle of a truly scientific and truly objective, with all its partisanship, understanding of one of the most important stages in the development of the international labor movement. It is enough to compare with this Leninist Bolshevik, genuine authenticity the subjectivist distortion and vulgarization of the historical reality of L. Trotsky in his book “Mein Leben” (My Life) in order to see the completely opposite cognitive significance of M. l., the class orientation of which follows the line of class interests of the bourgeoisie and counter-revolution.
When assessing autobiographical entries, in addition to all of the above, one should keep in mind that these entries are often compiled with the explicit purpose of self-justification and self-defense of their author. The most detailed and extremely factual at first glance notes of the Decembrist D.I. Zavalishin, when compared with a number of historical documents, turn out to be very unstable in their supposedly documentary-accurate statements, especially regarding the behavior of Zavalishin himself in the case of December 14: the noble pose of the author of the notes is completely discredited a series of protocol records, sealed with his signature, and a report from the investigative commission. Even in cases where the author sets himself the special goal of exposing himself, one should not succumb to the emphatically sincere tone of such self-exposure. In “Confession,” Rousseau uses this effective motif of extreme frankness more than once in an actorly manner.

5. THE SIGNIFICANCE OF MEMOIRS.- Memoirs, as a source of information about the life of a particular era, provide important material on the history of literary life. We know a number of notes devoted to literary life or reproducing most interesting moments from the life of one or another artist of the word. These are eg. notes of the brothers Goncourt, George Sand, Chateaubriand and others. In Russian. we have an extensive literary history that has significant historical and literary value. Here we must keep in mind, along with the notes of the artists themselves, words, such as. Pushkin’s diary, Fet’s “My Memoirs”, etc., as well as notes from those who, due to the nature of their activities, had the opportunity to observe closely literary life from her everyday everyday side, little accessible to the general public. Thus, N. I. Grech, the author of “Notes on My Life” (2nd ed., St. Petersburg, 1886, last - M., 1928), had the opportunity, as editor of the “Northern Bee,” to provide a lot of information on the history of Russian artistic words and journalism (in particular, about the activities of censorship), although he often deliberately distorted them. A. V. Nikitenko (“My story about myself and what I witnessed in life”) reveals many interesting episodes from the activities of the Censorship Committee, of which he was a long-term member. Memoirs of A. Panaeva (see), ex-wife I. I. Panaeva, and then Nekrasov’s common-law wife for 15 years, contains a lot of information not only about the personality and literary work of Nekrasov, but also about a whole galaxy of writers with whom she had to meet or about I heard a lot from friends.
But of particular value for a literary historian are notes written by great literary artists and providing rich material not only for studying the writer’s biography, but also for studying the creative personality of the writer (memoirs of J. Sand, Mme de Stael, the Goncourt diary, memoirs of Goethe and others - in the West, diaries of Pushkin, Tolstoy, Bryusov, memoirs of M. Gorky - here). In such works we often find direct indications of the writer’s intentions, the creative history of individual specific works. In addition, in addition to cases of direct instructions, records acquire a new and special meaning in the context of creative history, in which vital material is reproduced in documentary form, which has found another reflection in the same author - artistic. From this point of view, the memories of M. Gorky, collected in his books “Childhood”, “In People”, “My Universities”, etc., are of great value. Comparison of the persons depicted here and the events depicted with the first early works the same Gorky provide excellent material for judgments not only about the process of creativity, about the emergence of a work of art, but also about creative method, O artistic style writer, about his class attitude to the material of life.
M. l. can further provide abundant historical material not only for literary research, but also for the literary artists themselves. It is known that when creating War and Peace, Tolstoy made extensive use, along with general historical research, of the memoirs of contemporaries of the era he depicted. Memoir materials often provide much more scope than scientific works in history, to study the everyday character of the era, the psychology of individuals, etc.; M. l. sometimes speaks more to the writer’s imagination and provides more resources for the concrete embodiment of it artistic images. That is why the authors of the so-called. “historical” novels willingly resort to memoir sources. Anatole France, in the novel “The Gods Thirst,” depicting the Great French Revolution, and in the collection of short stories “The Mother-of-Pearl Casket,” dating to the same era, reproduces a number of episodes borrowed from the extensive M. l.
Often and much wider use of M. l. - when an artist borrows from someone else’s notes all the plot material and type of his work. This is how many stories and novellas of Soviet literature arose, dedicated to the era of the civil war. As a typical example of the use of one of these memoirs, one can point to Vsevolod Ivanov’s story “The Death of the Iron”, the plot of which is based on the memories of the Red commander L. Degtyarev, but the transmission and coverage of the facts has been changed.
Due to the fact that most of the notes are not directly prepared for publication and are made public only later, the value of the material presented in them increases, since it is less subject to distortion by the official censorship of the author at the time and to the editing of the preliminary secret censorship of the author himself. Because of this, in M. l. Such details have reached us that they hardly penetrated or did not penetrate at all into the press of their time. In the notes of A. S. Pishchevich, for example. we find many facts that the author had the opportunity to closely observe as a dragoon during the reign of Catherine II and then in the civil service under Paul I; Many of these facts reveal for us the details of officer and bureaucratic life at that time, and report on all sorts of “everyday” abuses in the service. It is not surprising that memoirs preserved from the effects of contemporary censorship, when made public in subsequent eras, arouse particularly suspicious attitudes on the part of censors. Thus, Bolotov’s memoirs, dedicated to the 18th century, were significantly distorted in the first edition, published after the author’s death: in subsequent editions it was necessary to restore missing episodes from the manuscript, sometimes depicting representatives of the bureaucracy, officers and clergy in an unattractive light, even against Bolotov’s wishes. Naturally, the greatest scope for studying M. l. as a monument of past life and historical situation arises when government passes into the hands of other classes who are not interested in “concealing the secrets” of a class that has already disappeared from the scene.
The October Revolution especially contributed to the revival of literary literature, which relates to the past and reveals what, under the conditions of this past, could not be revealed earlier. A number of memoirs of revolutionary figures have been made public over the past few years, providing enormous material on history revolutionary movement in Russia, on history political parties and intra-party disagreements, revealing the specific situation of the class struggle (memories of Lenin by N.K. Krupskaya, A.I. Elizarova, - V.N. Sokolov (“Party card No. 0046340”), N. Nikiforova (“Ants of the Revolution”), etc. .).
At the same time, in connection with the heightened sense of historical responsibility of our revolutionary era, the “latentness” usual for most memoirs turned out to be radically revised: the recording of what is happening in the revolutionary struggle is now made, in a number of cases, not in the leisure time of old people, and certainly not in in any case, not for distant descendants, but in the process of struggle, for contemporaries, for comrades in the same struggle. Most memories of Lenin are of this nature; This goal dictated the organizational work to record and record memories of the activities of the Red Army and began on the initiative of Gorky, “History of Factories and Plants.”

6. MAIN HISTORICAL MILESTONES M. L.- After all that has been said above, it is clear that studying the social nature of M. l. It is most convenient to use the material of specific memoir genres that have historically developed in a specific class style and have a certain ideological content. So, in the very fact of increased gravitation towards M. l. In general, the class orientation of literary formations can already have an effect. The attraction to the individualistic type of memoirs on the part of A. France (“Little Pierre”, “The Book of My Friend”, etc.) cannot but be connected with the passivity and passionism of his work, and through this creativity - with a passive role, which The group of middle bourgeoisie that put it forward, cut off from direct participation in production and in the economic struggle, must have realized that the group of middle bourgeoisie that put it forward was becoming more and more hopeless (see France). However, from the repeatedly observed fact - the dual use of the same literary material - it is clear that even in its general form, interest in M. l. cannot be interpreted in isolation from the place it occupies in the concrete situation of the class struggle.
In this situation M. l. creates a number of specific class genres. History of the genre evolution of M. l. has not yet been written, nothing has yet been done to study individual memoir genres from the point of view of their class characteristics, but it is still possible to note some groups of memoir works with a fairly obvious social-genre nature. “Comments on the Gallic War” by Julius Caesar, which combines a number of purely military, political, ethnographic, geographical and other information about Gaul, the circumstances of its origin and, most importantly, its general tendency - to get to know the conquered country and contrast it with the idea of ​​​​Roman statehood - serve an expression not only of the expansion of the slave state in the era of its heyday (1st century BC), but also of the military-political strategy of Julius Caesar that grew on this soil, who brilliantly took advantage of the class and tribal contradictions of the Gauls in the interests of the Roman state. “Confessions” of St. Augustine (IV-V centuries AD), interpreting theological problems from an individual psychological point of view, telling about attacks of unbelief, religious doubts and hesitations, about the temptations of worldly life, finally designing itself in a style not intended for theologians , but for secular readers - is the result of the economic decline of the large-landowning class of the Roman Empire, whose interests were expressed by Augustine, and the peculiar literary and ideological “decadence” associated with this decline.
For the feudal era, Geoffroy de Villegarduin's notes on crusade, in which he himself took part. The feudal-church ideology of the ruling classes finds expression here primarily in the fact that Villehardouin tries to portray as a Christian feat the openly predatory campaign of the “crusaders” of 1202, which caused confusion even in the minds of his contemporaries; for the “holy army,” instead of fighting the “infidels,” as it was supposed to, entered into an agreement with the Venetian Republic and plundered the lands of the Christian East in order to form a new Latin empire on the ruins of Byzantium. The subordination of all the historical and historical-everyday material cited in Villehardouin’s notes to the high theme of “serving the Lord,” disdain for fact as such, and the replacement of analysis of facts with generalized declarations about them characterize the literary design of these notes.
The era of the liberation struggle of cities against the feudal lords is vividly reflected in the memoirs (“De vita sua”) of the French theologian-historian Guibert of Nogent (XI-XII centuries), hostile to the rising burghers, but already absorbing the influence coming from the emerging urban culture. Guibert closely studies the surrounding reality (expressive descriptions of the history of the Lanskaya commune, his childhood, youth, etc.), life interests him in itself, he gravitates towards everyday sketches, etc.
The memoir part of Dante's "New Life" in his biographical comments to the sonnets and canzones dedicated to Beatrice, gives the theme of ideal-mystical love for a woman, familiar to the late Middle Ages, in a new, individualistic version, thereby reflecting that general individualism, which became more complex in Dante's work the traditional ideology of the feudal nobility in the context of the growth of trading cities.
The autobiography of Benvenuto Cellini, a most characteristic work of the era of growth of capitalist relations in the 16th century, can be completely opposed to medieval memoirs. In a distinctly individualistic approach to facts, in the cultivation of colorful, full of life material, in the absence of lifeless, abstract, reasoning leading away from life, not just the personal disposition of the artist-adventurer Benvenuto Cellini is revealed, but the ideology of the young bourgeoisie of the Renaissance, its willfulness and healthy epicureanism.
In Germany, the era of the Reformation and religious wars creates the form of political memoirs (notes of Charles V, autobiography of G. von Berlichingen, etc.), often turning into a pamphlet (see).
In Spain, which became in the XVI-XVII centuries. great colonial power, a group of memoirs appeared written by participants in the conquest (notes and memoirs of Columbus, Pizarro, Diaz, etc.). These memoirs are usually descriptions of travel to unknown lands, the life of exotic countries, and the exploits of Spanish weapons. They are imbued with the spirit of adventurism, Catholic missionary work, and admiration for the heroism of the conquerors.
Memoirs of the era of Louis XIII and Louis XIV in the choice of depicted facts, in the cultivation of little things related to court life and the royal person, and in connection with this in the microscosm of the very manner of depiction - one of the most visible literary manifestations of the courtly aristocratic environment of the 17th century. The most characteristic example can be the memoirs of Duke Saint-Simon, who speaks with equal significance about the major political events of that time, and about court intrigues, about the worldly appearance, about the manners of the king (cf. the memoirs of Louis XIV’s favorites Montespan and Maintenon, the gallant “Memoirs” Duke de Grammont", written in early XVIII V. A. Hamilton, as well as from the earlier ones - “Memoirs” of Brantome, depicting the history and morals of the court of Charles IX and his successors).
We find similar types of memoirs in Russia, but, due to the general lag of Russian historical process, only starting from the 18th century. (notes of Catherine II, Prince Dashkova, Yu. V. Dolgorukov, F. N. Golitsyn, V. N. Golovina and many others).
Decomposition absolute monarchy was reflected in the character of Casanova’s memoirs (18th century), on the entire ideology of this international adventurer expressed in them, on the entertaining epicureanism of the playmaker, on the theme consisting of court, social and love intrigues, flavored with Kabbalistic charlatanism, on the main tendency towards amusing entertainment in choice of facts and presentation. Other trends permeate the memoirs of the ideologists of the rising bourgeoisie. Voltaire's memoirs disavow the old order; Rousseau (Confessions), Goldoni and Goethe, recounting their life stories, create a monumental biography of a representative of the rising third estate, growing into central figure last century.
French revolution revives the genre of political memoirs (notes by Lafayette, Mme. de Staël, Mirabeau, C. Desmoulins, Madame Roland and many others), distinguished for the most part by a clearly expressed party orientation and passion for issues of social life.
“Memoirs of a Parisian bourgeois” by Dr. Veron, published in the middle of the 19th century, both in its subject matter, which leads to a restaurant, to the stock exchange, to the editorial office, and in the nature of the presentation, not intended for readers who understand at a glance, belonging to a certain vicious circle, and to a wider, “democratic” readership, they show the ideology and interests of the bourgeoisie in the era of the heyday of industrial capitalism.
Russian M. l. XIX century Along with the secular and literary notes of Smirnova and Kern, he gives family and political memoirs of the Decembrists and people close to them (notes of M. A. Bestuzhev and others). The character of these memoirs is connected - in the first group - with the noble character of Russian literature of the early 19th century. and - in the second group - with the noble-bourgeois nature of the December uprising. The mood of the revolutionary-democratic intelligentsia late XIX V. manifest themselves with the greatest strength and completeness in the memoirs of Kropotkin, Morozov, Vera Figner, M. Frolenko and a number of others.
Soviet literature, critically using the best traditions of revolutionary memoirs, sharpens their agitation and organizing role. At the same time, in connection with the increasing interest in revolutionary and generally “social” topics, a curious feature is observed in the very process of creating memoirs: memories are now often written down from the words of peasants or workers who do not have special literary skills and aspirations, and sometimes are completely illiterate, but keep I have a lot in my memory that may be of interest to the Soviet reader. For example, it is built on such records. The book “The Serf Grandmother” by T. Ferapontova, published by Guise in 1926, contains a retelling of the true memories of the peasant woman M. I. Volkova about the times of serfdom. Recently, special expeditions have even begun to be organized for the purpose of such records (recordings of the memories of Ural workers about the October Revolution, made by S.I. Mirer and V. Borovik (“Revolution”, 1931), the story of the old collective farmer Vasyunkina about her life, recorded by R S. Lipets, etc.).
Typological differentiation of M. l. must be carried out not only vertically, but also horizontally, that is, not only in connection with the historical change of social formations and the dominance of various classes, but also in connection with their existence and struggle in the same era. It is enough, as an example, to contrast Remarque’s book of military memoirs “All Quiet in the West” and Furmanov’s combat memoirs in his books “Chapaev” and “Mutiny”. In the first case, we have before us a petty-bourgeois pacifist writer serving the class interests of the bourgeoisie, in the second we have before us a proletarian writer and revolutionary fighter who knows how to reveal the social meaning of individual military episodes and not only shows the way out, but also agitates for it.
In conclusion, it is necessary to once again strongly emphasize the enormous political role of memoirs. Very often, under the guise of an objective “chronicle of events,” the memoirist defends an incorrect, harmful belief system. Such are, for example, the famous memoirs about February Revolution A. Shlyapnikov, Menshevik and anarcho-syndicalist interpretation of the history of the revolution, etc. Political memoirs represent a naked weapon of class struggle. This requires increased vigilance in this area. Bibliography:
Pekarsky P., Russian memoirs of the 18th century, Sovremennik, 1855, No. 4, 5, 8; Gennadi G., Notes (memoirs) of Russian people, Bibliographical instructions, “Readings in Imp. about history and ancient history. Russian at Moscow univers.", 1861, book. IV; Pylyaev M.I., List of the most important memoirs and notes left by Russian writers and public figures and still not made public, “Historical Bulletin”, 1890, I; Chechulin N., Memoirs, their significance and place among historical sources, St. Petersburg, 1891; Mintslov S. R., Review of notes, diaries, memoirs, letters and travels related to the history of Russia and printed in Russian. lang., vol. I, II-III, IV-V, Novgorod, 1911-1912.

What is "Memoir"? How to spell this word correctly. Concept and interpretation.

Memoirs memoirs (from the French m?moires - memories), a literary narrative of a participant in social, political, literary and artistic life about events that he was a witness or actor in, about the people with whom he came into contact. Memoirs are a type of documentary literature and at the same time one of the types of confessional prose (autobiography, confession), adjacent to historical prose, essay, biography. Memoirs can contain the memories of an ordinary person about his “ordinary” life, conveying the flavor of a certain era, thoughts, feelings, attitudes and expectations of “average” people of a particular time, of a particular social, age, psychophysiological or age status. In this regard, memoirs belong to genres bordering between literature proper and everyday letters and diaries not intended for publication. The origin of memoirs is associated with the memoirs of Xenophon (c. 445 - c. 355 BC) about Socrates and the “Notes on the Gallic War” of Julius Caesar (100 or 102-44 BC). In further literature, “The History of My Disasters” (1132–36) by P. Abelard, “New Life” (1292) by Dante, “Poetry and Truth from My Life” (1811-33) by J. V. Goethe, “Confession” ( 1766-69) J. J. Rousseau, “Ten Years in Exile” (unfinished, published in 1821) J. de Stael; in Russian literature - “The Past and Thoughts” (1855-68) by A. I. Herzen, “Captured Work” (1921-22) by V. N. Figner, “People, Years, Life” (1961-65) by I. G. Erenburg, V. P. Kataev’s trilogy “Holy Well” (1966), “The Grass of Oblivion” (1967), “My Diamond Crown” (1978); “On the Banks of the Neva” (1967) and “On the Banks of the Seine” (1983) by I. V. Odoevtseva, “Through the Eyes of a Man of My Generation” (published 1988) by K. M. Simonov, “A Calf Butted an Oak Tree” (1990) A I. Solzhenitsyn. A special place among the memoirs is occupied by notes and memoirs of prominent statesmen, including the Russian Empress Catherine II, the head of the English government during World War II, W. Churchill. Stable features of the genre: factuality, eventfulness, retrospectiveness, immediacy of the author's judgments, picturesqueness, documentary. An indispensable property of memoirs is their subjectivity in the selection of facts, in their coverage and evaluation; A common method of artistic characterization is a portrait. Memoirs are an irreplaceable source of information about the events of the past, tastes, morals, customs, a system of aesthetic and spiritual values, and an important tool for literary, socio-historical and cultural studies. Memoirs in their “pure” form can be identified with works of fiction of a memoir nature (“ Pedagogical poem", 1933–1936, A. S. Makarenko), often with “encrypted” characters (“My Diamond Crown” by V. P. Kataev). There are known hoax memoirs (the fake “diary” of the lady-in-waiting of the last Russian Empress A. A. Vyrubova). In the 20th–21st centuries. memoirs in the form of memoirs, sketches, fictional dialogues, polemics “retroactively”, diary entries etc. – one of the most relevant genres. In Russia, this is the so-called “camp” literature, which carries not only the truth about the tragic pages of the latest national history, but also a powerful charge of social and political exposure: “Steep Route” (1967-80) by E. S. Ginzburg, “The Gulag Archipelago” (1973) by A. I. Solzhenitsyn, “Plunge into Darkness” (1987) by O. N. Volkova, " Kolyma stories"(1954-73) V. T. Shalamova and others. Memoirs include collective collections of memories, united either by the community of authors (profession, age, nationality, biography, ideological, artistic and aesthetic affinity), or by the object of memories (memories of contemporaries about A S. Pushkin, memoirs of participants in the literary movement Imagism).

Memoirs- MEMOIRS, Tsov. Notes, literary memoirs about past events, made by a contemporary or teacher... Ozhegov’s Explanatory Dictionary

Memoirs- (French Memoires), notes from contemporaries - narratives about events in which the author M. took part... Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron

Memoirs- (French memoires, from Latin memoria - memory) memories of the past, written by participants... Great Soviet Encyclopedia

Memoirs- MEMOIRS, memoirs, units. no, m. (fr. mеmoires). 1. A literary work in the form of notes about the past... Ushakov’s Explanatory Dictionary

Memoirs- pl. 1. A literary work that tells in the form of notes on behalf of the author about the events of the past, ...

The meaning of the word MEMOIRS in Ushakov's Explanatory Dictionary of the Russian Language

MEMOIRS

memoirs, units no, m. (fr. mеmoires).

1. A literary work in the form of notes about past events in which the author was a contemporary or participant (lit.).

2. One of the names of printed works of scientific institutions (obsolete).

Ushakov. Explanatory dictionary of the Russian language by Ushakov. 2012

See also interpretations, synonyms, meanings of the word and what MEMOIRS are in Russian in dictionaries, encyclopedias and reference books:

• MEMOIRS in Statements of famous people:
  
• MEMOIRS in the Dictionary One sentence, definitions:
  - a book about the life that the author would like to live. ...
• MEMOIRS in Aphorisms and clever thoughts:
  a book about the life the author would like to live. ...
• MEMOIRS in the Dictionary of Literary Terms:
  - (from the French memoire - memory, recollection) - a type of epic literature: a chronicle and factual narration on behalf of the author, in which ...
• MEMOIRS in the Big Encyclopedic Dictionary:
  (French memoires - memories) a type of documentary literature, a literary narrative by a participant in social, literary, artistic life about events and people whose contemporary ...
• MEMOIRS in the Great Soviet Encyclopedia, TSB:
  (French memoires, from Latin memoria - memory), memories of the past, written by participants or contemporaries of any events. Created based on personal...
• MEMOIRS V Encyclopedic Dictionary Brockhaus and Euphron:
  (French: M?moires), notes from contemporaries - narratives about events in which the author M. took part or which are known to him from eyewitnesses. ...
• MEMOIRS in the Modern Encyclopedic Dictionary:
  (French memoires - memories), a type of documentary literature, a literary narrative of a participant in social, literary, artistic life about events and people whose contemporary ...
• MEMOIRS
  [from French memoires memories] 1) a literary work in the form of notes about past events in which the author was a contemporary or participant; 2) ...
• MEMOIRS in the Encyclopedic Dictionary:
  ov, units outdated or iron. memoir, a, m. 1. Notes about past events made by a contemporary or participant in these events. Write …
• MEMOIRS in the Encyclopedic Dictionary:
  , -ov. Notes, literary memories of past events, made by a contemporary or participant in these events. Military m. II adj. memoir...
• MEMOIRS in the Big Russian Encyclopedic Dictionary:
  MEMOIRS (French memoires - memories), a type of doc. lit-ry, lit. narration of a social participant, lit., art. life about events and people, contemporary...
• MEMOIRS in the Brockhaus and Efron Encyclopedia:
  (French M emoires), notes from contemporaries? narratives about events in which the author M. took part or which are known to him from ...
• MEMOIRS in the Complete Accented Paradigm according to Zaliznyak:
  memoirs "ry, memoirs" rov, memoirs "ram, memoirs" ry, memoirs "rami, ...
• MEMOIRS in the Popular Explanatory Encyclopedic Dictionary of the Russian Language:
  -ov, plural only. 1) A literary work that narrates in the form of notes on behalf of the author about events of the past, a participant or witness of which...
• MEMOIRS in the Thesaurus of Russian Business Vocabulary:
  Syn: memories, ...
• MEMOIRS in the New Dictionary of Foreign Words:
  (French memoires memories) 1) autobiographical notes; memories of events and persons of the past directly or indirectly involved in the life of the author; ...
• MEMOIRS in the Dictionary of Foreign Expressions:
  [ 1. autobiographical notes; memories of events and persons of the past directly or indirectly involved in the life of the author; 2. mouth scientific...
• MEMOIRS in the Russian Language Thesaurus:
  Syn: memories, ...
• MEMOIRS in Abramov's Dictionary of Synonyms:
  cm. …
• MEMOIRS in the Russian Synonyms dictionary:
  Syn: memories, ...
• MEMOIRS in the New Explanatory Dictionary of the Russian Language by Efremova:
  pl. 1) A literary work that narrates in the form of notes on behalf of the author about past events in which he was a participant or witness. ...
• MEMOIRS in Lopatin’s Dictionary of the Russian Language:
  memoirs, ...

from French mEmoires - memories), a literary narrative of a participant in social, political, literary and artistic life about events that he witnessed or was a participant in, about the people with whom he came into contact. Memoirs are a type of documentary literature and at the same time one of the types of confessional prose (autobiography, confession), adjacent to historical prose, essay, biography. Memoirs can contain the memories of an ordinary person about his “ordinary” life, conveying the flavor of a certain era, thoughts, feelings, attitudes and expectations of “average” people of a particular time, of a particular social, age, psychophysiological or age status. In this regard, memoirs belong to genres bordering between literature proper and everyday letters and diaries not intended for publication.

The origin of memoirs is associated with the memoirs of Xenophon (c. 445 - c. 355 BC) about Socrates and the “Notes on the Gallic War” of Julius Caesar (100 or 102–44 BC). In further literature, “The History of My Disasters” (1132–36) by P. Abelard, “New Life” (1292) by Dante, “Poetry and Truth from My Life” (1811–33) by I. V. Goethe, “Confession” ( 1766–69) J. J. Rousseau, “Ten Years in Exile” (unfinished, published in 1821) J. de Stael; in Russian literature - “The Past and Thoughts” (1855–68) by A. I. Herzen, “Captured Work” (1921–22) by V. N. Figner, “People, Years, Life” (1961–65) by I. G. Erenburg, V. P. Kataev’s trilogy “Holy Well” (1966), “The Grass of Oblivion” (1967), “My Diamond Crown” (1978); “On the Banks of the Neva” (1967) and “On the Banks of the Seine” (1983) by I. V. Odoevtseva, “Through the Eyes of a Man of My Generation” (published 1988) by K. M. Simonov, “A Calf Butted an Oak Tree” (1990) A I. Solzhenitsyn. A special place among the memoirs is occupied by notes and memoirs of prominent statesmen, including the Russian Empress Catherine II, the head of the English government during World War II, W. Churchill. Stable features of the genre: factuality, eventfulness, retrospectiveness, immediacy of the author's judgments, picturesqueness, documentary. An indispensable property of memoirs is their subjectivity in the selection of facts, in their coverage and evaluation; A common method of artistic characterization is a portrait. Memoirs are an irreplaceable source of information about the events of the past, tastes, morals, customs, a system of aesthetic and spiritual values, and an important tool for literary, socio-historical and cultural studies. Memoirs in their “pure” form can be identified with works of fiction of a memoir nature (“Pedagogical Poem”, 1933–1936, A. S. Makarenko), often with “encrypted” characters (“My Diamond Crown” by V. P. Kataev). There are known hoax memoirs (the fake “diary” of the lady-in-waiting of the last Russian Empress A. A. Vyrubova). In the 20th–21st centuries. memoirs in the form of memoirs, sketches, fictional dialogues, polemics “retroactively”, diary entries, etc. are one of the most relevant genres. In Russia, this is the so-called “camp” literature, which carries not only the truth about the tragic pages of modern Russian history, but also a powerful charge of social and political exposure: “Steep Route” (1967–80) by E. S. Ginzburg, “The Gulag Archipelago” ( 1973) A. I. Solzhenitsyn, “Plunge into Darkness” (1987) O. N. Volkova, “Kolyma Stories” (1954–73) V. T. Shalamova and others. Memoirs include collective collections of memories, united either by the community of authors (profession, age, nationality, biography, ideological, artistic and aesthetic affinity), or by the object of memories (memories of contemporaries about A. S. Pushkin, memories of participants in the literary movements of imagism).

Excellent definition

Incomplete definition ↓

MEMOIRS

historical (French m?moires, from Latin memoria - memory) - the author’s memories of the historical. events in which he was a participant or eyewitness, one of the types of historical sources. There are no clear lines separating M. from other types of sources of personal origin (sometimes the circle of M. also includes diaries, autobiographies, etc., along with memoirs). Dept. works like M. were created already in antiquity. These are, in particular, “Anabasis” by Xenophon (Russian translation, M.-L., 1951) - about the campaign of 10 thousand Greeks in Mesopotamia in 401 BC. e. and “Notes on the Gallic War” by Julius Caesar (Russian translation, M.-L., 1948). In the Middle Ages, M. wrote ch. arr. representatives of the feudal class, courtiers. Such are, for example, “The Conquest of Constantinople” by J. de Villehardouin (G. Villehardouin, L´histoire de la conqu?te de Constantinople, P., 1584) - an epically calm story about the 4th crusade of one of its leaders; “The History of Saint Louis” by J. Joinville (J. Joinville, L´histoire et chronique du tr?s-chr?stien roy Saint Louis, P., 1547) - a colorful picture of the life and customs of the era of Louis IX; "Chronicles" by J. Froissart (J. Froissart, Chroniques, P., 1869-99), reflecting the events of the 14th century. - 100 Years' War, Jacquerie, W. Tyler's rebellion; “Chronicle and History” by F. de Commines (Ph. de Commines, Chronique et istoire... durant le r?gne du roi Louis XI, P., 1524), imbued with ideas of exalting the power of Louis XI (2nd half of 15 V.). Standing somewhat apart are M. Pierre Abelard ("The History of My Disasters", Russian translation, 1959), which shows the persecution of Catholic freethinking. 12th century church But already from the Renaissance, new themes invaded M., interest in the surrounding world, in people, grew. personalities, among the memoirists there are more and more townspeople, merchants, including travelers (see the article “Travel”). In M., a prominent figure of the Huguenots T. A. d'Aubigne, "Tragic Poems. Memoirs" (R., 1616; in Russian translation, M., 1949) the era of religious wars comes to life; B. Cellini in his autobiography “The Life of Benvenuto, son of maestro Giovanni Cellini...” (Naples, 1728; Russian translation, M., 1931) vividly depicts the morals of Italy in the 16th century. By the 16th century There are also such examples of Russian M. as “The History of the Grand Duke of Moscow” (St. Petersburg, 1913) by Prince A. M. Kurbsky, where the events of the time of Ivan the Terrible are recreated, “The Life of Archpriest Avvakum, written by himself” (St. Petersburg, 1861), colorful ideologist of the Old Believers. Examples of M. countries of the East 15-16 centuries. The memoirs of Z. M. Vasifi, the courtier of the Timurids (Khorasan) Badai al-vaqai (vol. 1-2, M., 1961), expressing the ideas of the mountains, can serve as an example. feudal opposition power, M. ruler of the Great Mughals Babur (Russian translation "Babur-name", Tashkent, 1948). 17-18 centuries - the heyday of memoirs, especially in France. The following French masterpieces date back to this time. literature, such as M. Duke J. F. de Retz (J. Fr. Retz, M?moires, P., 1717) and M. Duke L. Saint-Simon (v. 1-21, P., 1829-30 ; Russian translation of selected parts, vol. 1-2, M.-L., 1934-36). Major social upheavals cause a flow of M., in which representatives of the main. fighting factions assess events from their class positions: M. associate of O. Cromwell T. Fairfax (Th. Fairfax, Memoirs of the reign of Charles the First , v. 1-2, L., 1848), T. Jefferson (Th. Jefferson, Memoirs, correspondence and private papers, v. 1-4, L., 1829), prominent Girondist Madame M. J. Roland (M. J. Roland, M ?moires, v. 1-2, P., 1820), military organizer of the French. bourgeois revolutions of the 18th century L. Carnot (L. Carnot, M?moires, v. 1-2, P., 1861-64), “Memoirs” of the diplomat Prince Talleyrand (v. 1-5, R., 1891-92; Russian translation. , M.-L., 1934) and many others. etc. Almost all of Napoleon I’s associates left apologetics about him. memories. Among the works of the 18th century, written in Russia, “Notes of Catherine II” (St. Petersburg, 1906), as well as “The Life and Adventures of Andrei Bolotov...” (vol. 1-4, St. Petersburg, 1871-73), stand out. there are vivid pictures of the life of the nobility, the events of the Seven Years' War and the uprising of E. Pugachev. In the 19th - early 20th centuries. due to rapid socio-economic changes, the growth of education, the composition of memoirists is democratizing, personal moments in memoirs are increasingly fading into the background or are closely intertwined with public moments. M. are increasingly becoming political in nature. Many M. revolutionaries appear, for example. “My Memoirs” by G. Garibaldi (R., 1860; Russian translation, M., 1931), the leader of German Social Democracy A. Bebel “From My Life” (Bd 1-3, V., 1910-14; Russian translation, M., 1963). Among Russian M. 19th century. A large group of M. Decembrists stands out. Among them are “Russia and the Russians” by N. I. Turgenev (vol. 1-2, St. Petersburg, 1907-08), “Notes” of Prince S. P. Trubetskoy (St. Petersburg, 1906). Exceptions occupy a special place. Valuable for its broad themes and richness of content, “The Past and Thoughts” by A. I. Herzen (vol. 1-4, London, 1861-67). Since the middle of the century, M. torg appeared. bourgeoisie, commoners, and later workers and peasants. Valuable information about the organization and activities of the populists is contained in the M. Narodovoltsev V. N. Figner (“Sealed Labor,” vol. 1-2, M., 1921-22) and O. V. Aptekman (“From the history of revolutionary populism “Earth” and will" of the 70s", Rostov n/D., 1907). The first memoirs of workers include “Memoirs” of the leader of the Morozov strike P. A. Moiseenko (M., 1924) and the memoirs of V. Gerasimov (first published in the magazine “Byloe”, 1906, No. 6). The composition of memoirists and the topics of memoirs in Russia changed fundamentally after October. The authors of the memoirs are primarily figures of the revolutionary movement, recreating the course of the heroic struggle against tsarism and the bourgeois system. There are especially many M. about Vel. Oct. socialist revolution (memoirs of V. Antonov-Ovseenko “In the Seventeenth Year”, M., 1933; book by the American communist J. Reed “Ten Days that Shook the World” (N. Y., 1919; rus. lane, M., 1923); in the Moscow of its participants the civil war is clearly depicted ("Civil War 1918-1921", vol. 1-3, Moscow, 1928-30, and many others). Since 1924, many memoirs about V.I. Lenin began to be published. In the climate of Stalin's personality cult, their publication almost ceased. After 1956, a new rise of owls began. memoirs, in which memories of Lenin occupy a prominent place (collection "Memoirs of V.I. Lenin", parts 1-3, M., 1956-60, etc.), about Vel. Patriotic War (by the end of 1965, more than 100 books on this topic were published in the USSR alone in the “War Memoirs” series). The composition of memoirists and the themes of their books changed sharply in other countries with the victory of socialism there. revolutions. In foreign socialist countries of M. are devoted to a significant extent to revolution. fight in modern times , anti-fascist. movement, socialist transformations, etc. These are M. Bolg. partisans ("Botevtsi", Sofia, 1959), M. state. Hungarian figure I. Dobi “Memories and History” (Dobi I., Vallom?s es t?rt?nelem, k?t. 1-2, Bdpst, 1962), collective M. about the formation of the GDR “We are strength” ( "Wir sind die Kraft", V., 1959), etc. With the growth of the national liberation movement in the countries of Asia, Africa and Latvia. America, M. leaders of this movement appear, many of whom later became political. figures liberated from imperialism. oppression of countries: M.K. Gandhi, My Life (v. 1-2, Ahmadabad, 1927-29; Russian translation, M., 1959), J. Nehru, Autobiography (L., 1930; Russian translation. , M., 1955); K. Nkrumah, Autobiography (L., 1957; Russian translation, M., 1961) and others. M. many bourgeois. state, political and other figures of the 20th century. distinguished, among many other class features, by an anti-Soviet orientation, for example, W. Churchill’s memoirs “The World Crisis” (v. 1-6, R., 1923-31; Russian translation, M.-L., 1932), R. Poincare "In the Service of France... Memoirs 1914-1918" (v. 1-10, R., 1926-33; Russian translation, vol. 1-2, M., 1936), G. Hoover (N Hoover, Memoirs, v. 1-3, N.Y., 1952). At the same time, more and more M. worker veterans are appearing and will be released. capitalist movements countries (T. Mann, Memoirs, translated from English, M.-L., 1924; M. Thorez, Son of the People, translated from French, M., 1950; S. Katayama, Memoirs, translated from Japanese ., M., 1964; M. Chilean communist E. Laferte, Life of a Communist, translated from Spanish, M., 1961, and many others). M. are a document of the era of their creation. They are often used as a political tool. and ideological struggle, and are often written for purely practical and even selfish purposes of the author. Sometimes one of the main purposes of writing M. is to settle scores with one’s politicians. opponents. These are, for example, to a certain extent the M. of the Tsar's Minister S. Yu. Witte ("Memoirs", vol. 1-3, M.-P., 1923-24). Other M. authors exaggerate their role in events or present their actions in a light favorable to themselves. Yes, tour. state the figure Dzhemal Pasha in his “Notes” (Russian translation, Tiflis, 1923) seeks to absolve himself of responsibility for the policies of the Young Turks in 1914-18. Many M. political. figures have a pronounced character of self-praise or apologetics (for example, M. Napoleon). In a number of cases, memoirists deliberately suppress important facts. For example, Talleyrand, who wrote his M. during the Bourbon restoration, kept silent about his participation in the activities of the Establishment. revolutionary meetings France at the end of the 18th century. With all the variety of specific tasks and goals of memoirists, their works are united by the fact that, unlike other sources of personal origin, they are written, as a rule, after the memoirists find themselves outside the environment associated with those depicted in M. events. Observations and impressions of eyewitnesses in M. are often adjusted under the influence of the author’s new interests and other circumstances. Characteristics M. are: subjectivity due to the social or political positions of the authors, as well as the limitations of their individual experience, the retrospective nature of the presentation of facts. Memoir’s specific primary source is memory (however, along with it, memoirists often use a variety of documentation, diaries, letters, the press, etc.). M., like any other sources, are used by historians only after careful source criticism. The purpose of the latter is to determine the degree of reliability and completeness of the content of the materials, taking into account all variants of their text and data from a comparison of the studies under study with those of other authors on similar or related topics. In this case, the analysis of authorship, in particular social status and biographical background, plays a primary role. data from the memoirists, their worldview, the degree of participation in the events covered, and specific goals when writing memoirs. For all their peculiarities and certain uncertainty of the boundaries of the genre, memoirs are extremely valuable historical. source. Reflecting the past in its concreteness, M. contain great material to study the psychology and life of society as a whole, as well as individual societies. groups. Thanks to M. the historical can be recreated. the background against which events unfolded, the atmosphere and flavor of a particular era, the logic of people’s behavior is clarified. Sometimes in M. you can find unpublished or unknown documents, letters, etc. in whole or in fragments. In a number of cases M. is the only or main source our knowledge about individual segments of history, about past events or their individual aspects. The literary portraits of people who played an outstanding role in history are of considerable value. B means. Thanks to M., students and associates of Marx, Engels, and Lenin, living images of the founders of Marxism-Leninism were preserved for history. Bibliographies and collections M.: Memories of Vladimir Ilyich Lenin. Annotated index of books and journal articles 1954-1961, M., 1963 (compiled by F. N. Kudryavtsev); Mintslov S. R., Review of notes, diaries, memoirs, letters and travels related to the history of Russia and printed in Russian. language, c. 1-5, Novgorod, 1911-12; History of Soviet society in the memoirs of contemporaries, 1917-1957. Annotated index of memoir literature, part 1, M., 1958; the same, part 2, c. 1, Journal publications 1917-1927, M., 1961; Index of memoirs, diaries and travel notes of the 18th-19th centuries, M., 1951; Collection des m?moires relatifs a la R?volution d´Angleterre, publ... par F. P. G. Guizot, t. 1-25, P., 1823-25; Collection des m?moires r?latifs a la R?volution fran?aise... publ. par S. A. Berville et J. F. Barri?re, v. 1-68, P., 1820-28; Biblioth?que des m?moires relatifs a l´histoire de France pendant le XVIII si?cle, ?d. Barri?re F. et A. de Lescure, v. 1-28, P., 1846-66; the same, Nouvelle série avec introductions, notices et notes par M. de Lescure, v. 29-37, P., 1875-81; Collection des mémoires relatifs a l´histoire de France... jusqu´au XIII si?cle, publ... par F. Guizot, v. 1-30, P., 1823-35; Nouvelle collection des m?moires sur l´histoire de France... jusqu´a la fin du XVIII si?cle..., ?d. J.-F. Michaud et J. J. F. Poujoulat, pt. 1-34, P., 1836-39; Westphal M., Die besten deutschen Memoiren aus 7 Jahrhunderten, Lpz., 1923. Lit.: Cardin V., Today about yesterday. Memoirs and modernity, M., 1961 (popular science book); Chernomorsky M.N., Memoirs as a historical source, M., 1959 (Soviet period of the history of the USSR); Derevnina L.I., On the term “memoirs” and the classification of memoir sources (historiography of the issue). - "Issues of archival science", 1963, No. 4; Caboche Ch., Les m?moires et l'histoire en France, t. 1-2, P., 1863; Wolf G., Einf?hrung in das Studium der neueren Geschichte, V., 1910, S. 324 404. I. Ya. Bisk. Tambov.

The section is very easy to use. Just enter the desired word in the field provided, and we will give you a list of its meanings. I would like to note that our site provides data from various sources - encyclopedic, explanatory, word-formation dictionaries. Here you can also see examples of the use of the word you entered.

Meaning of the word memoirs

memoirs in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

memoirs

memoirs, units no, m. (fr. mеmoires).

A literary work in the form of notes about past events in which the author was a contemporary or participant (lit.).

One of the names of printed works of scientific institutions (obsolete).

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

memoirs

Ov. Notes, literary memoirs about past events made by a contemporary or participant in these events. Military m.

adj. memoir, oh, oh. M. genre.

New explanatory dictionary of the Russian language, T. F. Efremova.

memoirs

A literary work that narrates in the form of notes on behalf of the author about past events in which he was a participant or witness.

1. outdated Scientific works, notes.

   Meeting scientific articles published by a scientific society or institution.

Encyclopedic Dictionary, 1998

memoirs

MEMOIRS (French memoires - memories) are a type of documentary literature, a literary narrative of a participant in social, literary, artistic life about events and people of whom he was a contemporary. Wed. autobiography.

Memoirs

(French mémoires, from Latin memoria ≈ memory), memories of the past, written by participants or contemporaries of any events. Created on the basis personal experience their authors, but meaningful in accordance with their individuality and socio-political views of the time when M. was written. The main source of information for M. is the authors’ memories of their experiences, but along with them, various documentation, diaries, letters, the press, etc. are sometimes used. M. are often literary works and constitute a special genre, a variety of which are autobiographies and travel notes (see Travel). Some M. are outstanding works of art(“Confession” by J. J. Rousseau, “The Past and Thoughts” by A. I. Herzen). Memories are often used as a means of political and ideological struggle (“Thoughts and Memoirs” by O. Bismarck; “Memoirs” by S. Yu. Witte and others), and reactionary historical figures sometimes resort to distortion of the truth. M. are also historical sources, because they reflect the events of political and military history, cultural life, life and customs of society, etc. The value of materials for historical science is determined by their specificity and ability to reflect the author’s personal attitude to the events in which he participated. But M.’s subjectivity and bias complicate the researcher’s work.

Works close to M. were known in antiquity (Anabasis by Xenophon, Notes on the Gallic War by Julius Caesar). The Middle Ages produced a number of works (mainly in the form of chronicles, biographies, and lives of saints) similar to M. and containing records of what the author saw. The emergence of M. in the modern sense is associated with the Renaissance, with the awareness of historical significance human personality, individual experience. In the 18th-20th centuries. A large memoir literature, varied in form and comprehensive in content, has developed. The authors of M. are most often political and military figures, cultural and scientific workers. In Russia, the appearance of M. dates back to the 17th century. (“The Life of Archpriest Avvakum”, etc.), their flowering as a literary genre began in the 18th century. After the Great October Socialist Revolution, in connection with the democratization of culture and other areas of social life, various layers of the Soviet people participated in the creation of Moscow. Many works are devoted to the October Revolution of 1917 and the Civil War of 1918–20, the Great Patriotic War of 1941–1945, and other important events in the history of the USSR. Writing M. requires from their authors truthfulness, accuracy, and clarity of class assessments. In the USSR, the M series are published: “Military Memoirs” (Military Publishing House), “About Life and About Myself” (Politizdat), “Literary Memoirs” (Publishing House of Fiction).

Lit.: Mintslov S. R., Review of notes, diaries, memoirs, letters and travels related to the history of Russia and published in Russian, v. 1≈5, Novgorod, 1911≈12; History of Soviet society in the memoirs of contemporaries, vol. 1≈2 (v. 1≈2), M., 1958≈67; Cardin V., Today is about yesterday. Memoirs and modernity, M., 1961; Chernomorsky M.N., Work on memoirs while studying the history of the CPSU, 2nd ed., M., 1965; Kurnosov A. A., Techniques of internal criticism of memoirs, in the book: Source Studies. Theoretical and methodological problems, M., 1969; Golubtsov V.S., Memoirs as a source on the history of Soviet society, M., 1970; Ginzburg L. Ya., On psychological prose, Leningrad, 1971; Source study, history of the USSR, M., 1973.

A. A. Kurnosov.

Wikipedia

Memoirs

Memoir literature, memoirs- notes from contemporaries, telling about events in which the author of the memoirs took part or which are known to him from eyewitnesses, and about people with whom the author of the memoirs was familiar. An important feature of memoirs is the claim to the reliability of the reconstructed past and, accordingly, to the documentary nature of the text, although in reality not all memoirs are truthful and accurate.

Memoirs are not identical to autobiography and chronicle of events, although in everyday life these concepts can be used as synonyms. The memoirist tries to comprehend the historical context own life, describes his actions as part of a general historical process. In an autobiography (for example, “Confession of an Opium Smoker”, “Confession” by Rousseau), the emphasis is on the inner life of the author and on the development of his personality. Memoirs differ from chronicles of contemporary events in their subjectivity - in that the events described are refracted through the prism of the author’s consciousness with his own sympathies and dislikes, with his own aspirations and views.

Many memoirs were written by individuals who played a prominent role in history (Winston Churchill, Charles De Gaulle, Catherine II). They can cover a significant period of time, sometimes the entire life of the author, connecting important events with the small details of everyday life. In this regard, memoirs serve as a historical source of paramount importance. However, memoirists, not always consciously, try to present themselves to their descendants in a favorable light, to justify their failures, which inevitably raises the question of the reliability of what is stated before the historian. For example, the popular ideas about Cellini as a rare trickster and Casanova as an irresistible rake go back exclusively to their memoirs and are not confirmed by other historical sources.

Examples of the use of the word memoirs in literature.

Value memoirs Annenkov is that they help us feel the atmosphere of the ideological struggle around Gogol, although the nature and severity of this struggle is not always correctly revealed by the author. Possessing major literary merits, Annenkov’s works resurrect portraits of many of the most prominent participants in the social and literary movement of his time, against a broad background which recreates the image of Gogol.

This trait memoirs Annenkova received a positive assessment from Chernyshevsky.

All this must be remembered when reading memoirs Annenkov, since they not only record what was seen and heard, but are at the same time an attempt at a critical understanding of Gogol’s personality and creativity.

In the preface to his memoirs, published in the USA, Deputy Secretary of State Talbott frankly admits that Mr. Arbatov has been a friend of America since the 70s.

In my quiet Arensburg I may still have time to write memoirs and several articles on the history of German raiding.

I repeat, Atka’s last name is memoirs is not named, otherwise why would I drag out this whole long chain of assumptions and conclusions in front of you?

I thought about Atka immediately, as soon as I found it in memoirs fascist German submariner mention of a Russian translator.

Zhukov the unreasonableness of repressions in his memoirs It is also supported by a high percentage of proletarian commanders, people from workers and peasants, as well as the Bolshevization of the army.

If Esterhazy had fled to England or America and sold there, as he sometimes threatened to do, his memoirs and diaries, the whole world would one day learn the full extent of the crimes of the French general elite: the fact that they convicted Dreyfus without guilt, and the fact that they knew who exactly was the author of the bordereau, and the fact that the secret document that convinced judges, was a fake, planted with their knowledge in the deliberation room of the court.

Prince Dolgoruky informed him about the suppression of the Bulavin uprising, Romodanovsky - about the Streltsy rebellion, Sheremetev, Repnin, Golitsyn, Apraksin wrote laconic letters to the office memoirs about how they fought against the Swedes.

At the same time, local legends are also a most valuable historical source, although they are subject to verification and comprehension, like the chronicle, epic, memoirs.

These words of Chekhov come to mind when I begin to write memoirs, so unlike ordinary ones. memoirs.

But the German Gelerter wrote two thick volumes to prove that memoirs The Casanovas are a very reliable historical source of the eighteenth century.

These were the years of his painful relationship with Tuchkova and the endless family conflicts they caused, meanwhile, even Tuchkova’s name does not appear in memoirs.

Getting ahead of events, I will say that with the German edition memoirs Grabin nothing came of it.