Modern literature (at the applicant's choice). Main trends in modern Russian literature lesson plan on literature (grade 11) on the topic General overview of the works of the last decade

Literature of the 50s–80s (review)

Death of I.V. Stalin. XX Party Congress. Changes in the social and cultural life of the country. New trends in literature. Topics and problems, traditions and innovations in the works of writers and poets.

Reflection of the conflicts of history in the destinies of the heroes: P. Nilin “Cruelty”, A. Solzhenitsyn “One Day in the Life of Ivan Denisovich”, V. Dudintsev “Not by Bread Alone...”, etc.

New understanding of the problem of man in war: Y. Bondarev “Hot Snow”, V. Bogomolov “Moment of Truth”, V. Kondratyev “Sashka”, etc. Study of the nature of heroism and betrayal, philosophical analysis of human behavior in an extreme situation in the works of V. Bykov “Sotnikov”, B. Okudzhava “Be healthy, schoolboy” and others.

The role of works about the Great Patriotic War in the education of patriotic feelings of the younger generation.

Poetry of the 60s . Searches for a new poetic language, form, genre in the poetry of B. Akhmadullina, E. Vinokurov, R. Rozhdestvensky, A. Voznesensky, E. Evtushenko, B. Okudzhava and others. Development of the traditions of Russian classics in the poetry of N. Fedorov, N. Rubtsov, S. Narovchatova, D. Samoilov, L. Martynov, E. Vinokurova, N. Starshinova, Y. Drunina, B. Slutsky, S. Orlov, I. Brodsky, R. Gamzatov and others.

Reflection on the past, present and future of the Motherland, affirmation of moral values ​​in the poetry of A. Tvardovsky.

« Urban prose» . Subjects, moral issues, artistic features of the works of V. Aksenov, D. Granin, Yu. Trifonov, V. Dudintsev and others.

« Village prose» . A depiction of life in a Soviet village. The depth and integrity of the spiritual world of man, connected by his life with the earth, in the works of F. Abramov, M. Alekseev, S. Belov, S. Zalygin, V. Krupin, P. Proskurin, B. Mozhaev, V. Shukshin, etc.

Dramaturgy. Moral issues of the plays by A. Volodin “Five Evenings”, A. Arbuzov “Irkutsk History”, “Cruel Intentions”, V. Rozov “In Good Hour”, “The Wood Grouse’s Nest”, A. Vampilov “Last Summer in Chulimsk”, “Senior son”, “Duck Hunt”, etc.

Dynamics of moral values ​​over time,foreseeing the danger of losing historical memory: “Farewell to Matera” by V. Rasputin, “Stormy Stop” by Ch. Aitmatov, “Dream at the Beginning of Fog” by Y. Rytkheu and others.

An attempt to evaluate modern life from the perspective of previous generations: “Sign of Trouble” by V. Bykov, “Old Man” by Y. Trifonov, “Shore” by Y. Bondarev, etc.

Historical theme in Soviet literature. Resolving the issue of the role of personality in history, the relationship between man and power in the works of B. Okudzhava, N. Eidelman,

V. Pikulya, A. Zhigulina, D. Balashova, O. Mikhailova and others.

Autobiographical literature. K. Paustovsky,

I. Ehrenburg.

The growing role of journalism. Journalistic orientation of works of art of the 80s. Appeal to the tragic pages of history, reflections on universal human values.

Magazines from this time,their position. (“New World”, “October”, “Banner”, etc.).

Development of the fantasy genre in the works of A. Belyaev, I. Efremov, K. Bulychev and others.

Author's song. Its place in the historical and cultural process (meaningfulness, sincerity, attention to the individual). The significance of the creativity of A. Galich, V. Vysotsky, Y. Vizbor, B. Okudzhava and others in the development of the genre of art song.

Multinationality of Soviet literature.

A.I. Solzhenitsyn. Information from the biography.

« Matrenin Dvor» *. “One day in the life of Ivan Denisovich.” A new approach to depicting the past. The problem of generational responsibility. The writer's reflections on the possible ways of human development in the story. The skill of A. Solzhenitsyn - a psychologist: the depth of characters, historical and philosophical generalization in the writer’s work.

V.T. Shalamov. Information from the biography.

« Kolyma stories» .(two stories of your choice). The artistic originality of Shalamov's prose: absence of declarations, simplicity, clarity.

V.M. Shukshin. Information from the biography .

Stories: "Weirdo", « I choose a village to live in», « cut off», « Microscope», « Oratorical reception» . A depiction of the life of a Russian village: the depth and integrity of the spiritual world of the Russian person. Artistic features of V. Shukshin's prose.

N.M. Rubtsov. Information from the biography .

Poems : « Visions on the Hill», « Autumn leaves» (You can choose other poems).

The theme of the homeland in the poet’s lyrics, acute pain for its fate, faith in its inexhaustible spiritual powers. Harmony of man and nature. Yesenin traditions in Rubtsov’s lyrics.

Rasul Gamzatov. Information from the biography.

Poems: « Cranes», « Horsemen quarreled in the mountains,it happened...» (you can choose other poems).

The soulful sound of the theme of the homeland in Gamzatov’s lyrics. A technique of parallelism that enhances the semantic meaning of eight lines. The relationship between the national and the universal in Gamzatov’s works.

A.V. Vampilov.Information from the biography.

Play « Provincial jokes» ( You can choose another dramatic work).

The image of an eternal, indestructible bureaucrat. Affirmation of goodness, love and mercy. Gogolian traditions in Vampilov’s dramaturgy.

Russian literature of recent years (review)

Foreign literature (review)

J.-W. Goethe.« Faust» .

E. Hemingway.« The Old Man and the Sea» .

E.-M. Remarque.« Three comrades»

G. Marquez.« One Hundred Years of Solitude» .

P. Coelho.« Alchemist» .

Works for discussions on modern literature

A. Arbuzov « Years of wandering» .

V. Rozov « Looking for Joy» .

A. Vampilov « Last summer in Chulimsk» .

V. Shukshin « Until the third roosters», « Duma» .

V. Erofeev “Moscow – Petushki”

Ch. Aitmatov. “The White Steamer” (After the Fairy Tale)”, “Early Cranes”, “Piebald Dog Running by the Edge of the Sea”.

D. Andreev. "Rose of the World"

V. Astafiev. "The Shepherd and the Shepherdess."

A. Beck. "New appointment."

V. Belov. "Carpenter's Stories", "The Year of the Great Turning Point".

A. Bitov. "Georgian Album".

V. Bykov. “Roundup”, “Sotnikov”, “Sign of Trouble”.

A. Vampilov. "Eldest Son", "Farewell in June".

K. Vorobiev. "Killed near Moscow."

V. Vysotsky. Songs.

Yu. Dombrovsky. "Faculty of unnecessary things."

V. Ivanov. “Primordial Rus'”, “Great Rus'”.

B. Mozhaev. "Men and women."

V. Nabokov. "Luzhin's Defense"

V. Nekrasov. “In the trenches of Stalingrad”, “A little sad story”.

E. Nosov. “Usvyatsky Helmet Bearers”, “Red Wine of Victory”.

B. Okudzhava. Poetry and prose.

B. Pasternak. Poetry.

V. Rasputin. “Farewell to Matera”, “Live and Remember”.

V. Shalamov. “Kolyma stories.

Poetry of the 60–90s and the last decade (A. Kuznetsov, N. Tryapkin, G. Aigi, D. Prigov, V. Vishnevsky, etc.).

Sample essay topics

XIX century

Social and political situation in Russia at the beginning of the nineteenth century. The influence of the ideas of the Great French Revolution on the formation of public consciousness and the literary movement.

Romanticism. Social and philosophical foundations of its occurrence.

Moscow Society of Philosophers, its philosophical and aesthetic program.

Basic aesthetic principles of realism. Stages of development of realism in the 19th century.

K.N. Batyushkov. The cult of friendship and love in the works of Batyushkov. The role of the poet in the development of Russian poetry.

V.A. Zhukovsky. The artistic world of romantic elegies and ballads.

The main problems of I.A.’s fables Krylova. The theme of the Patriotic War of 1812 in the fables of I.A. Krylova.

Creativity of the Decembrist poets. Features of the civil-heroic romanticism of the Decembrists, leading themes and ideas of their work (K.F. Ryleev,V.F. Raevsky and others).

A.S. Pushkin is the creator of the Russian literary language; Pushkin’s role in the development of Russian poetry, prose and drama.

Freedom-loving lyrics by A.S. Pushkin, its connection with the ideas of the Decembrists (“Liberty”, “To Chaadaev”, “Village”).

Southern poems by A.S. Pushkin, their ideological and artistic features, reflection in the poems of the character traits of “modern man”.

The tragedy “Boris Godunov” by A.S. Pushkin. The historical concept of the poet and its reflection in the conflict and plot of the work.

Decembrist theme in the works of A.S. Pushkin (“To Siberia”, “Arion”, “Anchar”).

The theme of the poet’s spiritual independence in Pushkin’s poetic manifestos (“The Poet and the Crowd,” “The Poet,” “To the Poet”).

The poet’s philosophical lyrics (“A vain gift, an accidental gift...”, “Do I wander along the noisy streets...”).

The novel “Eugene Onegin” by A.S. Pushkin - the first Russian realistic novel, its social issues, system of images, features of plot and composition.

Patriotic poems by A.S. Pushkin (“To the Slanderers of Russia”, “Borodin Anniversary”, “Before the Saint’s Tomb”).

Pushkin's fairy tales, their problematics and ideological content.

The significance of the creative heritage of A.S. Pushkin. Pushkin and our modernity.

The place and significance of the poets of Pushkin’s “pleiad” in Russian poetry. The originality of D.V.’s poetry Davydova, P.A. Vyazemsky, E.A. Baratynsky, A.A. Delviga, N.M. Yazykova, D.V. Venevitinova.

Theme and originality of the early lyrics of M.Yu. Lermontov, her genres, character traits of the lyrical hero.

The theme of the poet and poetry in the works of M.Yu. Lermontov (“Death of a Poet”, “Poet”, “Prophet”).

Development of realistic tendencies in the lyrics of M.Yu. Lermontov, the interaction of lyrical, dramatic and epic principles in lyrics, its genre diversity.

The social and philosophical essence of the poem by M.Yu. Lermontov's "Demon", the dialectic of good and evil, rebellion and harmony, love and hatred, fall and rebirth in the poem.

“A Hero of Our Time” as a socio-psychological and philosophical novel by M.Yu. Lermontov, its structure, system of images.

A.V. Koltsov. The organic unity of the lyrical and epic principles in Koltsov’s songs, the features of their composition and visual means.

Features of N.V.’s creative talent Gogol and his poetic vision of the world. A.S. Pushkin about the specifics of Gogol’s talent.

Poem “Dead Souls” by N.V. Gogol, its concept, features of the genre, plot and composition. The role of Chichikov’s image in the development of the plot and the revelation of the main idea of ​​the work.

The main features of Russian classical literature of the 19th century: national identity, humanism, life-affirming pathos, democracy and nationality.

Geopolitics of Russia: protection of the national-state interests of the country in the works of L. N. Tolstoy, N. A. Nekrasov, F. I. Tyutchev.

The demarcation of socio-political forces in the 1860s, polemics on the pages of periodicals. The magazines “Sovremennik” and “Russkoe Slovo” and their role in the social movement.

Journalistic and literary-critical activities of N.G. Chernyshevsky, N.A. Dobrolyubova and D.I. Pisareva.

N.G. Chernyshevsky. Socio-political and aesthetic views. Literary-critical activity of N.G. Chernyshevsky.

The novel “What to do?” N.G. Chernyshevsky, his socio-political and philosophical character, problematics and ideological content. The theory of “reasonable egoism”, its attractiveness and impracticability.

ON THE. Nekrasov is the organizer and creator of the new Sovremennik.

Roman I.A. Goncharov “Oblomov” as a socio-psychological and philosophical novel.

“Notes of a Hunter” by I.S. Turgenev - history of creation, problems and artistic originality. V.G. Belinsky about “Notes”.

The novel “Fathers and Sons” by I.S. Turgenev, his problems, ideological content and philosophical meaning. The main conflict of the novel and its reflection of the socio-political struggle on the eve of and during the reforms.

The image of Bazarov as a “transitional type” of a “restless and yearning man” in the novel by I.S. Turgenev "Fathers and Sons". Controversy surrounding the novel. DI. Pisarev, M.A. Antonovich and N.N. Fears about “Fathers and Sons.”

I.S. Turgenev “Poems in Prose”, themes, main motives and genre originality.

Drama “The Thunderstorm” by A.N. Ostrovsky. The problem of personality and environment, ancestral memory and individual human activity in relation to the moral laws of antiquity.

The innovative character of A.N.’s dramaturgy Ostrovsky. The relevance and topicality of the problems raised in his works.

Soul and nature in the poetry of F.I. Tyutcheva.

Features of love lyrics by F.I. Tyutchev, its dramatic tension (“Oh, how murderously we love…”, “Last Love”, “On the eve of the anniversary of August 4, 1864”, etc.).

The spontaneity of artistic perception of the world in the lyrics of A.A. Feta (“Don’t wake her up at dawn…”, “Evening” “How poor our language is!..”, etc.).

Genre diversity of creativity of A.K. Tolstoy. The main motives of the poet’s lyrics (“Among the noisy ball...”, “Not the wind, blowing from above...”, etc.).

Socio-political and cultural life of Russia in the 1870s – early 1880s. Formation of the ideology of revolutionary populism.

M.E. Saltykov-Shchedrin is a contributor and editor of Sovremennik and Otechestvennye zapiski.

“Fairy Tales” by M.E. Saltykov-Shchedrin, their main themes, fantastic orientation, Aesopian language.

Roman F.M. Dostoevsky's "Crime and Punishment", the formulation and solution in it of the problems of moral choice and human responsibility for the fate of the world.

Raskolnikov and his theory of crime. The essence of “punishment” for a lost person and her path to spiritual rebirth in the novel by F.M. Dostoevsky "Crime and Punishment".

N.S. Leskov and his tales about truth-seekers and people's righteous people (“Soborians”, “The Enchanted Wanderer”, “Lefty”).

“War and Peace” L.N. Tolstoy. Concept, issues, composition, system of images.

Spiritual quests of L.N. Tolstoy in the novel Anna Karenina.

Search for a positive hero and ideals of A.P. Chekhov in his stories (“My Life”, “House with a Mezzanine”, “The Jumper”).

Innovation of Chekhov's dramaturgy.

The cognitive, moral, educational and aesthetic role of Russian literature of the 19th century, its global significance and relevance for modern times.

The end of the 19th – the beginning of the 20th century

Modernist movements. Symbolism and young symbolism. Futurism.

Motives of the immortality of the soul in the works of I.A. Bunina.

A.I. Kuprin. Affirmation of the high moral ideals of the Russian people in the writer’s stories.

Moral and social quests of the heroes of I.S. Shmeleva.

The concept of society and man in the dramatic works of M. Gorky.

Autobiographical stories by M. Gorky “Childhood”, “In People”, “My Universities”

Ideals of serving society as interpreted by V. Ya. Bryusov.

The theme of the historical destinies of Russia in the works of A.A. Blok.

Acmeism as a movement in literature; representatives of Acmeism.

Fate and Creativity M.I. Tsvetaeva.

M. Sholokhov's epic novel “Quiet Don”. The uniqueness of the depiction of Russian character in the novel.

Novels and stories about the war “Young Guard” by A. Fadeev, “Star” by E. Kazakevich, “In the Trenches of Stalingrad” by V. Nekrasov.

Soviet historical novel “Peter the Great” by A. Tolstoy.

Satirical novels and stories by I. Ilf and E. Petrov.

Reflection of the tragic contradictions of the era in the works of A. Akhmatova, O. Mandelstam.

Development of the traditions of Russian folk culture in the poetry of the 30s by A. Tvardovsky, M. Isakovsky, P. Vasiliev.

Patriotic poetry and songs of the Great Patriotic War.

M.A. Sholokhov is the creator of the epic picture of folk life in “Don Stories”.

Military theme in the works of M. Sholokhov.

The originality of the composition of the novel “The White Guard” by M.A. Bulgakov.

The tragedy of the depiction of the Civil War in the dramaturgy of M.A. Bulgakov (“Days of the Turbins”, “Running”, etc.).

The novel “Other Shores” by V.V. Nabokov as a novel-memoir of Russia.

Early lyrics of B. Pasternak.

A. Tvardovsky “Vasily Terkin”. A book about a fighter is the embodiment of the Russian national character. I. Bunin about “Vasily Terkin”.

A. Tvardovsky’s poem “House by the Road”: issues, images of heroes.

“Camp” prose of A. Solzhenitsyn “The Gulag Archipelago”, novels “In the First Circle”, “Cancer Ward”.

Philosophical novels by Ch. Aitmatov: “Stormy Stop”, “And the Day Lasts Longer than a Century”, “The Scaffold”.

Depiction of the difficult path of the Soviet intelligentsia in Yu. Bondarev’s novels “The Shore”, “Choice”, “The Game”.

Philosophical fantastic prose by A. and B. Strugatsky.

Historical novels by L. Borodin, V. Shukshin, V. Chivilikhin, B. Okudzhava.

Realistic satire by F. Iskander, V. Voinovich, B. Mozhaev, V. Belov, V. Krupin.

Neomodernist and postmodernist prose by V. Erofeev “Moscow - Petushki”.

Artistic exploration of the everyday life of modern man in the “cruel” prose of T. Tolstoy, L. Petrushevskaya, L. Ulitskaya and others.

The image of a working man in the poetic works of Y. Smelyakov, B. Ruchev, L. Tatyanicheva and others.

The spiritual world of the Russian person in the lyrical verses and poems of N. Rubtsov.

Lyrics by poets of the front generation M. Dudin, S. Orlov, B. Slutsky and others.

An epic understanding of the Patriotic War in V. Grossman’s novel “Life and Fate.”

Philosophical and parable narrative about the war in V. Bykov’s stories “Sotnikov”, “Obelisk”, “Sign of Trouble”.

The variety of folk characters in the works of V. Shukshin.

Early stories by A. Solzhenitsyn: “One Day in the Life of Ivan Denisovich”, “Matrenin’s Yard”.

Poetry of the 60s XX century.

N. Rubtsov. The development of Yesenin’s traditions in the books “Star of the Fields”, “The Soul Keeps”, “The Noise of Pines”, “Green Flowers”, etc.

I. Brodsky's Nobel lecture is his poetic credo.

Books of poems by I. Brodsky “Part of Speech”, “The End of a Beautiful Era”, “Urania”, etc.

Social and psychological dramas by A. Arbuzov “Irkutsk History”, “Tales of the Old Arbat”, “Cruel Intentions”.

Theater of A. Vampilov: “The Eldest Son”, “Duck Hunt”, “Provincial Anecdotes”, “Last Summer in Chulimsk”.

Conventional metaphorical novels by V. Pelevin “The Life of Insects” and “Chapaev and Emptiness.”

Literary criticism of the mid-80s–90s. XX century

Development of the detective genre at the end of the twentieth century.

STATE AUTONOMOUS EDUCATIONAL INSTITUTION OF SECONDARY VOCATIONAL EDUCATION OF THE NOVOSIBIRSK REGION

"KUPINSKY MEDICAL TECHNIQUE"

METHODOLOGICAL DEVELOPMENT OF THE LESSON

in the discipline LITERATURE

Chapter: Literature of the second half XX century

Subject:

Specialty: 060501 Nursing Course: 1

Kupino

2015

Explanatory note

Educational and methodological characteristics of the lesson

Progress of the lesson

Handout

Additional material

Materials for current control

EXPLANATORY NOTE

This methodological development is intended for organizing classroom work for students when studying the literature of the last decade. The lesson is conducted in the form of a lecture.

The methodological manual presents tasks on the topic. The manual includes material that complements the material in the textbook.

As a result of studying the topic Review of the literature of the last decade

The student must:

know/understand:

Content of the studied literary works;

Basic patterns of the historical and literary process and features of literary movements;

be able to:

Reproduce the content of a literary work;

Compare literary works;

Analyze and interpret a work of art using information on the history and theory of literature (topics, problems, moral pathos, system of images, compositional features, 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;

Relate fiction to social life and culture; reveal the specific historical and universal content of the studied literary works; identify “cross-cutting” themes and key problems of Russian literature; correlate the work with the literary direction of the era;

use acquired knowledge and skills in practical activities and everyday life for:

Creating a coherent text (oral and written) on the required topic, taking into account the norms of the Russian literary language;

Participating in dialogue or discussion;

Independent acquaintance with the phenomena of artistic culture and assessment of their aesthetic significance.

EDUCATIONAL AND METHODOLOGICAL CHARACTERISTICS OF THE CLASSES

Lesson topic: Review of the literature of the last decade

Type of lesson: learning new things

Lesson form: lecture

Location audience

Duration of the lesson: 90 minutes

Topic motivation: activating cognitive activity and interest of students in studying this topic, setting the goals and objectives of the lesson

Lesson objectives:

1. Educational: know/understand the content of the studied literary works; the main patterns of the historical and literary process and features of literary movements;

2. Developmental: to develop the ability to analyze and interpret a work of art, using information on the history and theory of literature.

3. Educational: reveal the specific historical and universal content of the studied literary works; use acquired knowledge and skills in practical activities and everyday life for independent acquaintance with the phenomena of artistic culture and assessment of their aesthetic significance.

Interdisciplinary integration: history, Russian language

Intradisciplinary integration: Review of Russian literature of the second half of the 20th century

Equipment: projector, computer, presentation, book exhibition

List of literature:

Main:

- Literature. 10th grade: textbook for general education. institutions / T.F. Kurdyumova, S.A. Leonov and others; under. ed. T.F. Kurdyumova. – M.: Bustard, 2008

Literature. 11th grade At 2 o'clock: a textbook for general education. institutions/T.F. Kurdyumova and others; under. ed. T.F. Kurdyumova. – M.: Bustard, 2011

Additional:

Lebedev Yu.V. Literature. 10th grade: textbook for general education institutions. Basic and profile levels. At 2 o'clock - M.: Education, 2006

Petrovich V.G., Petrovich N.M. Literature in basic and specialized schools. Grade 11. Book for teachers. M., 2006

Krutetskaya V.A. Literature in tables and diagrams. Grade 10. - St. Petersburg, 2008

Dictionary of literary characters in 8 volumes - Compiled and editor Meshcheryakov V.P. - M.: Moscow Lyceum, 1997

Chernyak M.A. Modern Russian literature (grades 10-11): educational and methodological materials. - M.: Eksmo, 2007

Internet resources:

-

Creative Teachers Network

Progress of the lesson

Organizing time: greeting the group, identifying those who are absent, assessing the hygienic conditions of preparing the audience for the lesson.

Motivation for learning activities

Designation of the topic of the lesson, formation of the purpose of the lesson, designation of the plan for the upcoming work in the lesson.

3. Updating of reference knowledge

- student messages

4. Assimilation of new knowledge

Lecture-conversation (presentation) –

The modern literary process is characterized by the disappearance of former canonized themes (“the theme of the working class,” “the theme of the army,” etc.) and a sharp rise in the role of everyday relationships. Attention to everyday life, sometimes absurd, to the experience of the human soul, forced to survive in a situation of breakdown, shifts in society, gives rise to special subjects. Many writers seem to want to get rid of their former pathos, rhetoric, and preaching, and fall into the aesthetics of “shocking and shock.” The realistic branch of literature, having experienced a state of lack of demand, is approaching the understanding of the turning point in the sphere of moral values. “Literature about literature,” memoir prose, is coming to a prominent place.

Perestroika opened the door to a huge stream of “detained” and young writers professing different aesthetics - naturalistic, avant-garde, postmodernist, realistic. One of the ways to update realism is to try to free it from ideological predetermination. This trend led to a new round of naturalism: it combined the traditional belief in the cleansing power of the cruel truth about society and the rejection of pathos of any kind, ideology, preaching (prose by S. Kaledin - “The Humble Cemetery”, “Building Battalion”; prose and drama by L. Petrushevskaya ).

The year 1987 has special significance in the history of Russian literature. This is the beginning of a unique period, exceptional in its general cultural significance. This is the beginning of the process of returning Russian literature. The main motive of four years ( J987--1990) becomes the motive for the rehabilitation of history and prohibited - “uncensored”, “seized”, “repressive” - literature. In 1988, speaking at the Copenhagen meeting of artists, literary critic Efim Etkind said: “Now there is a process that is of unprecedented, phenomenal significance for literature: the process of return. A crowd of shadows of writers and works about which the general reader knew nothing poured onto the pages of Soviet magazines... Shadows are returning from everywhere.”

The first years of the rehabilitation period - 1987-1988 - are the time of the return of spiritual exiles, those Russian writers who (in the physical sense) did not leave the borders of their country.

From the publications of works by Mikhail Bulgakov (“Heart of a Dog”, “Crimson Island”), Andrei Platonov (“Chevengur”, “The Pit”, “Juvenile Sea”), Boris Pasternak (“Doctor Zhivago”), Anna Akhmatova (“Requiem”) , Osip Mandelstam (“Voronezh Notebooks”), the creative heritage of these (famous even before 1987) writers was restored in full.

The next two years - 1989-1990 - are a time of active return of an entire literary system - the literature of Russian abroad. Until 1989, isolated publications by emigrant writers - Joseph Brodsky and Vladimir Nabokov in 1987 - were sensational. And in 1989-1990, “a crowd of shadows poured into Russia from France and America” (E. Etkind) - these are Vasily Aksenov, Georgy Vladimov, Vladimir Voinovich, Sergei Dovlatov, Naum Korzhavin, Viktor Nekrasov, Sasha Sokolov and, of course, Alexander Solzhenitsyn .

The main problem for literature in the second half of the 1980s was the rehabilitation of history. In April 1988, a scientific conference with a very revealing title was held in Moscow - “Current Issues of Historical Science and Literature.” The speakers talked about the problem of the truthfulness of the history of Soviet society and the role of literature in eliminating “blank historical spots.” In the emotional report of economist and historian Evgeniy Ambartsumov, the idea, supported by everyone, was voiced that “true history began to develop outside the ossified official historiography, in particular, by our writers F. Abramov and Yu. Trifonov, S. Zalygin and B. Mozhaev, V. Astafiev and F. Iskander, A. Rybakov and M. Shatrov, who began to write history for those who could not or did not want to do this.” In the same 1988, critics started talking about the emergence of a whole movement in literature, which they designated as “new historical prose.” The novels “Children of Arbat” by Anatoly Rybakov and “White Clothes” by Vladimir Dudintsev, published in 1987, and the story “The Golden Cloud Spent the Night” by Anatoly Pristavkin became public events of this year. At the beginning of 1988, Mikhail Shatrov’s play “Further... further... further...” became the same socio-political event, while the images of “living bad Stalin” and “living non-standard Lenin” barely passed the then existing censorship.

The state of modern literature itself, that is, that which was not only published, but also written in the second half of the 1980s, confirms that during this period literature was primarily a civil matter. Only ironist poets and authors of “physiological stories” (“Guignol prose” (Sl.)) were able to loudly declare themselves at this time) Leonid Gabyshev (“Odlyan, or the Air of Freedom”) and Sergei Kaledin (“Stroibat”), in whose The works depicted the dark sides of modern life - the morals of juvenile delinquents or army hazing.

It should also be noted that the publication of stories by Lyudmila Petrushevskaya, Evgeny Popov, Tatyana Tolstoy, authors who today define the face of modern literature, went almost unnoticed in 1987. In that literary situation, as Andrei Sinyavsky rightly noted, these were “artistically redundant texts.”

So, 1987-1990 is the time when Mikhail Bulgakov’s prophecy (“Manuscripts don’t burn”) came true and the program so carefully outlined by academician Dmitry Sergeevich Likhachev was fulfilled: “And if we publish the unpublished works of Andrei Platonov “Chevengur” and “Pit ", some of the works of Bulgakov, Akhmatova, Zoshchenko still remaining in the archives, then this, it seems to me, will also be useful for our culture" (from the article: The culture of truth is the anticulture of lies // Literary newspaper, 1987. No. 1). Over the course of four years, a colossal array was mastered by the general Russian reader - 2/3 of the previously unknown and inaccessible corpus of Russian literature; all citizens became readers. “The country has turned into an All-Union Reading Room, in which, following Doctor Zhivago, Life and Fate is discussed (Natalya Ivanova). These years are called the “reading feast” years; There was an unprecedented and unique increase in the circulation of periodical literary publications (“thick” literary magazines). Record circulation of the magazine “New World” (1990) - 2,710,000 copies. (in 1999 - 15,000 copies, i.e. slightly more than 0.5%); all writers became citizens (in that year, the overwhelming majority of people's deputies from creative unions were writers - V. Astafiev, V. Bykov, O. Gonchar, S. Zalygin, L. Leonov, V. Rasputin); civil (“severe”, not “graceful”) literature triumphs. Its culmination is

year - “the year of Solzhenitsyn” and the year of one of the most sensational
publications of the 1990s - the article “Wake of Soviet Literature”, in which its author, a representative of “new literature”, Viktor Erofeev, announced the end of the “Solzhenization” of Russian literature and the beginning of the next period in modern Russian literature - postmodernist (1991-1994). ).

Postmodernism appeared in the mid-40s, but was recognized as a phenomenon of Western culture, as a phenomenon in literature, art, and philosophy only in the early 80s. Postmodernism is characterized by an understanding of the world as chaos, the world as a text, an awareness of the fragmentation of existence. One of the main principles of postmodernism is intertextuality (the correlation of the text with other literary sources).

The postmodern text forms a new type of relationship between literature and the reader. The reader becomes a co-author of the text. The perception of artistic values ​​becomes multi-valued. Literature is seen as an intellectual game.

Postmodern storytelling is a book about literature, a book about books.

In the last third In the 20th century, postmodernism became widespread in our country. These are works by Andrei Bitov, Venedikt Erofeev, Sasha Sokolov, Tatyana Tolstoy, Joseph Brodsky and some other authors. The system of values ​​is being revised, mythologies are being destroyed, the views of writers are often phonic and paradoxical.

Changes in political, economic, social conditions in the country at the end The 20th century led to many changes in literary and near-literary processes. In particular, since the 1990s, the Booker Prize appeared in Russia. Its founder is the English Booker company, which is engaged in the production of food products and their wholesale. The Russian Booker Literary Prize was established by the founder of the Booker Prize in Great Britain, Booker Pic, in 1992 as a tool to support authors writing in Russian and to revive publishing activity in Russia with the goal of making good contemporary Russian literature commercially successful in its homeland.

From a letter from the Chairman of the Booker Committee, Sir Michael Caine:

“The success of the Booker Prize, with its annual change of committee, independence from the interests of publishers and from government agencies, prompted us to establish similar awards for works in other languages. The most tempting idea seemed to be to create a Booker Prize for the best novel in Russian. With this we want to express respect for one of the greatest literatures in the world and we hope that we will be able to help attract general attention to the living and problem-filled Russian literature of today.” The system for awarding the prize is as follows: nominators (literary critics speaking on behalf of literary magazines and publishing houses) nominate nominees and candidates for the prize (the so-called “long list” ( long-list)). From among them, the jury selects six finalists (the so-called “short-list”), one of whom becomes the laureate (booker).

Russian bookers were Mark Kharitonov (1992, “Lines of Fate, or Milashevich’s Chest”), Vladimir Makanin (1993, “A table covered with cloth and with a decanter in the middle”), Bulat Okudzhava (1994, “The Abolished Theater”), Georgy Vladimov (1995 , “The General and His Army”), Andrei Sergeev (1996, “Album for Stamps”), Anatoly Azolsky (1997, “Cage”), Alexander Morozov (1998, “Other People’s Letters”), Mikhail Butov (1999, “Freedom” ), Mikhail Shishkin (2000, “The Capture of Izmail”), Lyudmila Ulitskaya (2001, “The Case of Kukotsky”), Oleg Pavlov (2002, “Karaganda Departures, or the Tale of the Last Days”). It should be understood that the Booker Prize, like any other literary prize, is not intended to answer the question “Who is our first, second, third writer?” or “Which novel is the best?” Literary awards are a civilized way to arouse publishing and reader interest (“To bring together readers, writers, publishers. So that books are bought, so that literary work is respected and even generates income. For the writer, for publishers. And in general, culture wins” (critic Sergei Reingold) ).

Close attention to the Booker laureates already in 1992 made it possible to identify two aesthetic trends in the latest Russian literature - postmodernism (among the 1992 finalists are Mark Kharitonov and Vladimir Sorokin) and post-realism (postrealism is a trend in the latest Russian prose). Characteristic of realism is the traditional attention to the fate of a private person, tragically lonely and trying to self-determinate (Vladimir Makanin and Lyudmila Pstrushevskaya).

Nevertheless, the Booker Prize and the literary prizes that followed it (Anti-Booker, Triumph, Pushkin Prize, Paris Prize for Russian Poet) did not completely eliminate the problem of confrontation between non-commercial literature (“pure art”) and the market. “The way out of the impasse” (that was the title of an article by critic and cultural critic Alexander Genis, dedicated to the literary situation of the early 1990s) for “non-market” literature was its appeal to traditionally popular genres (literary and even song) -

fantasy (“fantasy”) - “The Life of Insects” (1993) by Victor Pelevin;

fantasy novel - “Cassandra’s Brand” (1994) by Chingiz Aitmatov;

mystical-political thriller - “The Guardian” (1993)
Anatoly Kurchatkin;

erotic novel - “Eron” (1994) by Anatoly Korolev, “The Road to Rome” by Nikolai Klimontovich, “Everyday Life of a Harem” (1994) by Valery Popov;

Eastern - “We can do anything” (1994) by Alexander Chernitsky;

adventure novel - “I am not me” (1992) by Alexei Slapovsky (and his “rock ballad” “Idol”, “thieves’ romance” “Hook”, “street romance” “Brothers”);

“new detective” by B. Akunin; ,

“ladies detective” by D. Dontsova, T. Polyakova and others.
A work that embodied almost all the features of modern Russian prose was “Ice” by Vladimir Sorokin, nominated in the 2002 shortlist. The work caused a wide resonance due to the active opposition of the “Walking Together” movement, which accuses Sorokin of pornography. V. Sorokin withdrew his candidacy from the short list.

A consequence of the blurring of the boundaries between high and mass literature (along with the expansion of the genre repertoire) was the final collapse of cultural taboos (prohibitions), including: on the use of obscene (profanity) language - with the publication of Eduard Limonov’s novel “It’s me, Eddie!” (1990), works by Timur Kibirov and Viktor Erofeev; to discuss in literature the problems of drugs (Andrei Salomatov’s novel “Kandinsky Syndrome” (1994)) and sexual minorities (the two-volume collected works of Evgeniy Kharitonov “Tears on Flowers” ​​became a sensation in 1993).

From the writer’s program to create a “book for everyone” - both for the traditional consumer of “non-commercial” literature and for the general reading public - a “new fiction” emerges (its formula was proposed by the publisher of the anthology “End of the Century”: “A detective story, but written in good language” ). The trend towards “readability” and “interesting” can be considered a trend of the postmodern period. Genre " fantasy", which turned out to be the most viable of all genre new formations, was the starting point for one of the most noticeable phenomena in modern Russian literature - this is the prose of fiction, or fiction-prose - fantasy literature, "modern fairy tales", the authors of which do not reflect, but invent new absolutely implausible, artistic realities.

Fiction is literature of the fifth dimension, as the unbridled author's imagination becomes, creating virtual artistic worlds - quasi-geographical and pseudo-historical.

5. Homework, instructions on how to complete it:

- Working on lecture notes

- Preparation for the test

6. Summing up the lesson. Reflection.

ADDITIONAL MATERIAL

Information for the teacher

The Russian Booker was awarded for the first time in 1991. Since then, not a single awarded novel has become a bestseller, which is not at all surprising, since famous writers were the first to be eliminated from the list of nominees. Over the years - Victor Pelevin, Vladimir Sorokin, Dmitry Bykov, Anatoly Naiman. This time, for example, TV journalist Leonid Zorin and detective author Leonid Yuzefovich. And the winner who received the prize remained unknown to anyone.

In total, thirty-one works were accepted into the Russian Booker competition this year. Of these, six novels made it to the finals: “Villa Reno” by Natalia Galkina, “White on Black” by Ruben David Gonzalez Gallego, “Jupiter” by Leonid Zorin, “Frau Scar” by Afanasy Mamedov, “Lavra” by Elena Chizhova and “Cazarosa” by Leonid Yuzefovich.

As Yakov Gordin, chairman of the prize jury, said at the ceremony announcing the laureate, the Booker committee chose the work in which “soil and fate breathe” to the greatest extent. Such a work, according to the committee, turned out to be the book “White on Black,” published last year by the Limbus Press publishing house.

R. D. Gonzalez Gallego, despite his rather exotic name, is quite a Russian writer. In any case, he had never written in any other language other than Russian. The laureate was born in Moscow in 1968 into a family of Spanish communists who fled to the USSR from the Franco regime. His maternal grandfather, Ignacio Gallego, was the general secretary of the Spanish Communist Party. Ruben David Gonzalez Gallego has been suffering from a serious illness since birth - cerebral palsy. One day, when he was only one and a half years old, his condition deteriorated sharply, and everyone thought that the child was no longer a survivor. And this opinion of the doctors somehow reached his mother as news of the death of the unfortunate baby. The grief-stricken parent could not even bring herself to even look at her supposedly dead son. And by some miracle he survived. And since then I have been wandering around various institutions for the disabled. Ruben David met his mother only thirty years later.

The period of wandering around shelters became the main theme of the writer’s work. His “Booker” book “White on Black” is, in fact, a collection of short stories, where the author depicts the people with whom fate brought him together in the bleak orphan period of his life. And in all these short stories, of course, the character and fate of the narrator himself are realized. That is why the collection “White on Black” is a complete work. As Tatyana Nabatnikova, editor-in-chief of the Limbus Press publishing house, noted, calling “White on Black” a novel would not be a mistake. He typed the novel “White on Black,” which was recognized as the best Russian book of this year, with two working fingers of his left hand.

For the past few years, Gonzalez Gallego has been living with his old mother in Madrid. He works very productively. His works are reprinted and published in many countries. By the way, from this year the value awards Booker laureates have increased. Previously the bonus was twelve thousand five hundred dollars. And now - fifteen. Finalists still receive a thousand.

MATERIALS FOR CURRENT CONTROL

Seminar

What time period are we talking about when the term “modern Russian literature” is mentioned? Obviously, it dates back to 1991, receiving impetus for development after the collapse of the USSR. There is currently no doubt about the presence of this cultural phenomenon. Many literary critics agree that four generations of writers are behind its creation and development.

The sixties and modern literature

So, modern Russian literature did not arise out of nowhere immediately after the collapse of the Soviet Union and the fall of the Iron Curtain. This happened largely due to the legalization of the works of writers of the sixties, previously prohibited from publication.

The newly discovered names of Fazil Iskander became known to the general public (the story “Constellation of Kozlotur”, the epic novel “Sandro from Chegem”); Vladimir Voinovich (novel “The Adventures of Ivan Chonkin”, novels “Moscow 2042”, “Design”); Vasily Aksenov (novels “Island of Crimea”, “Burn”), Valentin Rasputin (stories “Fire”, “Live and Remember”, story “French Lessons”).

Writers of the 70s

Together with the works of the generation of disgraced freethinkers of the sixties, modern Russian literature began with books of authors of the generation of the 70s that were permitted for publication. It was enriched by the works of Andrei Bitov (the novel “Pushkin’s House”, the collection “Apothecary Island”, the novel “The Flying Monks”); Venedikt Erofeeva (prose poem “Moscow - Petushki”, play “Dissidents, or Fanny Kaplan”); Victoria Tokareva (collections of stories “When it became a little warmer”, “About what did not happen”); Vladimir Makanin (stories “A table covered with cloth and with a decanter in the middle”, “One and One”), Lyudmila Petrushevskaya (stories “Thunderstrike”, “Never”).

Writers initiated by perestroika

The third generation of writers - creators of literature - was awakened to creativity directly by perestroika.

Modern Russian literature has been enriched with new bright names of its creators: Viktor Pelevin (novels “Chapaev and Emptiness”, “Life of Insects”, “Numbers”, “Empire V”, “T”, “Snuff”), Lyudmila Ulitskaya (novels “Medea and her children”, “Kukotsky’s Case”, “Sincerely yours Shurik”, “Daniel Stein, translator”, “Green Tent”); Tatyana Tolstoy (novel “Kys”, collections of stories “Okkervil River”, “If you love - you don’t love”, “Night”, “Day”, “Circle”); Vladimir Sorokin (stories “The Day of the Oprichnik”, “Blizzard”, novels “Norma”, “Telluria”, “Blue Lard”); Olga Slavnikova (novels “Dragonfly Enlarged to the Size of a Dog”, “Alone in the Mirror”, “2017”, “Immortal”, “Waltz with a Beast”).

New generation of writers

And finally, modern Russian literature of the 21st century has been replenished with a generation of young writers, the beginning of whose work fell directly on the period of state sovereignty of the Russian Federation. Young but already recognized talents include Andrei Gerasimov (novels “Steppe Gods”, “Razgulyaevka”, “Cold”); Denis Gutsko (the Russian-speaking dilogy); Ilya Kochergina (story “The Chinese Assistant”, stories “Wolves”, “Altynai”, “Altai Stories”); Ilya Stogoff (novels “Machos Don’t Cry”, “Apocalypse Yesterday”, “Revolution Now!”, collections of stories “Ten Fingers”, “Dogs of God”); Roman Senchin (novels “Information”, “Yeltyshevs”, “Flood Zone”).

Literary awards stimulate creativity

It is no secret that modern Russian literature of the 21st century is developing so rapidly thanks to numerous sponsorship awards. Additional motivation encourages authors to further develop their creativity. In 1991, the Russian Booker Prize was approved under the auspices of the British company British Petrolium.

In 2000, thanks to the sponsorship of the construction and investment company "Vistcom", another major award was established - "Natsbest". And finally, the most significant is the “Big Book”, established in 2005 by the Gazprom company. The total number of existing literary awards in the Russian Federation is approaching one hundred. Thanks to literary awards, the writing profession has become fashionable and prestigious; the Russian language and modern literature received a significant impetus to their development; the previously dominant method of realism in literature was supplemented by new directions.

Thanks to active writers (which is manifested in works of literature), it develops as a communicative system through further universalization, that is, through the borrowing of syntactic structures, individual words, speech patterns from vernacular, professional communication, and various dialects.

Styles of modern literature. Popular literature

Works of modern Russian literature are created by their authors in various styles, among which mass literature, postmodernism, blogger literature, dystopian novel, and literature for clerks stand out. Let's take a closer look at these areas.

Mass literature today continues the traditions of entertaining literature of the end of the last century: fantasy, science fiction, detective, melodrama, adventure novel. However, at the same time, there is an adjustment to the modern rhythm of life, to rapid scientific progress. Readers of mass literature make up the largest share of its market in Russia. Indeed, it attracts different age groups of the population, representatives of various levels of education. Among works of mass literature, compared to books of other literary styles, there are most of all bestsellers, that is, works that have peak popularity.

The development of modern Russian literature today is largely determined by the creators of books with maximum circulations: Boris Akunin, Sergei Lukyanenko, Daria Dontsova, Polina Dashkova, Alexandra Marinina, Evgeniy Grishkovets, Tatyana Ustinova.

Postmodernism

Postmodernism as a direction in Russian literature arose in the 90s of the last century. Its first adherents were writers of the 70s, and representatives of this trend contrasted realism with an ironic attitude towards communist ideology. They demonstrated in artistic form evidence of the crisis of totalitarian ideology. Their baton was continued by Vasily Aksenov “Island of Crimea” and Vladimir Voinovich “The Adventures of Soldier Chonkin”. Then they were joined by Vladimir Sorokin and Anatoly Korolev. However, Viktor Pelevin’s star shone brighter than all other representatives of this trend. Each book by this author (and they are published approximately once a year) gives a subtle artistic description of the development of society.

Russian literature at the present stage is developing ideologically thanks to postmodernism. His characteristic irony, the dominance of chaos over order inherent in changes in the social system, and the free combination of artistic styles determine the universality of the artistic palette of its representatives. In particular, Viktor Pelevin in 2009 was informally awarded the honor of being considered a leading intellectual in Russia. The originality of his style lies in the fact that the writer used his unique interpretation of Buddhism and personal liberation. His works are multipolar, they include many subtexts. Victor Pelevin is considered a classic of postmodernism. His books have been translated into all languages ​​of the world, including Japanese and Chinese.

Novels - dystopias

Modern trends in Russian literature have also contributed to the development of the genre of the dystopian novel, which is relevant during periods of change in the social paradigm. The generic features of this genre are the representation of the surrounding reality not directly, but already perceived by the consciousness of the protagonist.

Moreover, the main idea of ​​such works is the conflict between the individual and a totalitarian society of the imperial type. According to its mission, such a novel is a book of warning. Among the works of this genre one can name the novels “2017” (author - O. Slavnikova), “Underground” by V. Makanin, “ZhD” by D. Bykov, “Moscow 2042” by V. Voinovich, “Empire V” by V. Pelevin.

Blogger literature

The problems of modern Russian literature are most fully covered in the genre of blogger works. This type of literature has both common features with traditional literature and significant differences. Like traditional literature, this genre performs cultural, educational, ideological, and relaxation functions.

But, unlike it, it has a communicative function and a socialization function. It is blogger literature that fulfills the mission of communication between participants in the literary process in Russia. Blogger literature performs functions inherent in journalism.

It is more dynamic than traditional literature because it uses small genres (reviews, sketches, information notes, essays, short poems, short stories). It is characteristic that the blogger’s work, even after its publication, is not closed or complete. After all, any comment that follows is not a separate, but an organic part of the blog work. Among the most popular literary blogs on the Runet are the “Russian Book Community”, the “Discussing Books” community, the “What to Read?” community.

Conclusion

Modern Russian literature today is in the process of its creative development. Many of our contemporaries read the dynamic works of Boris Akunin, enjoy the subtle psychologism of Lyudmila Ulitskaya, follow the intricacies of fantasy plots by Vadim Panov, and try to feel the pulse of time in the works of Viktor Pelevin. Today we have the opportunity to assert that in our time, unique writers create unique literature.

A people deprived of public freedom has the only platform from the height of which they make the cry of their indignation and their conscience heard,” wrote A.I. Herzen in the last century. For the first time in the entire centuries-old history of Russia, the government has now given us freedom of speech and press. But, despite the enormous role of the media, domestic literature is the ruler of thoughts, raising layer by layer the problems of our history and life. Maybe E. Yevtushenko was right when he said: “in Russia - more than a poet!..”.

Today, one can very clearly trace the artistic, historical, socio-political significance of a literary work in connection with the socio-political situation of the era. This formulation means that the characteristics of the era are reflected in the theme chosen by the author, his characters, and artistic means. These features can give a work great social and political significance. Thus, in the era of the decline of serfdom and the nobility, a number of works about “superfluous people” appeared, including the famous “Hero of Our Time” by M.Yu. Lermontov. The very name of the novel and the controversy surrounding it showed its social significance in the era of the Nikolaev reaction. A.I. Solzhenitsyn’s “One Day in the Life of Ivan Denisovich,” published during the period of criticism of Stalinism in the early 60s, was also of great importance. Modern works demonstrate an even greater connection than before between the era and the literary work. Now the task is to revive the rural owner. Literature responds to it with books about the dispossession and de-peasantization of the village.

The close connection between modernity and history even gives rise to new genres (for example, chronicles) and new visual means: documents are introduced into the text, time travel for many decades is popular, and more. The same applies to problems of environmental protection. It can't be tolerated anymore. The desire to help society forces writers, for example Valentin Rasputin, to move from novels and stories to journalism.

The first theme that unites a very large number of works written during the 50s - 80s is the problem of historical memory. The epigraph to it could be the words of Academician D.S. Likhachev: “Memory is active. It does not leave a person indifferent or inactive. She controls the mind and heart of a person. Memory resists the destructive power of time. This is the greatest meaning of memory."

“Blank spots” were formed (or rather, they were formed by those who constantly adapted history to their interests) not only in the history of the entire country, but also in its individual regions. Viktor Likhonosov’s book “Our Little Paris” about Kuban. He believes its historians owe a debt to their land. “Children grew up without knowing their native history.” About two years ago the writer was in America, where he met with residents of the Russian colony, emigrants and their descendants from the Kuban Cossacks. A storm of reader letters and responses was caused by the publication of the novel, the chronicle of Anatoly Znamensky “Red Days,” which reported new facts from the civil history of the Don. The writer himself did not immediately come to the truth and only in the sixties realized that “we know nothing at all about that era.” In recent years, several new works have been published, such as Sergei Alekseev’s novel “Sedition,” but there is still a lot unknown.

The theme of those innocently repressed and tortured during the years of Stalin's terror is especially prominent. Alexander Solzhenitsyn did a tremendous amount of work in his “GULAG Archipelago.” In the afterword to the book, he says: “I stopped working not because I considered the book finished, but because there was no more life left for it. I not only ask for leniency, but I want to shout: when the time comes, the opportunity comes, gather together, friends, survivors, those who know well, and write another comment next to this one...” Thirty-four years have passed since those were written, no, embossed on heart, these words. Solzhenitsyn himself has already edited the book abroad, dozens of new evidence have come out, and this call will remain, apparently, for many decades, both to the contemporaries of those tragedies, and to the descendants, before whom the archives of the executioners will finally open. After all, even the number of victims is unknown!.. The victory of democracy in August 1991 gives hope that the archives will soon be opened.

And therefore, the words of the already mentioned writer Znamensky seem to me not entirely true: “And how much should have been said about the past, it seems to me, has already been said by A.I. Solzhenitsyn, and in “Kolyma Stories” by Varlam Shalamov, and in the story “Bas-relief on rock" Aldan - Semenova. And I myself, 25 years ago, during the years of the so-called Thaw, paid tribute to this topic; my story about the camps called “Without Repentance”... was published in the magazine “North” (N10, 1988).” No, I think witnesses, writers, and historians still have to work hard.

Much has already been written about Stalin’s victims and executioners. I note that a continuation of the novel “Children of the Arbat” by A. Rybakov, “The Thirty-Fifth and Other Years,” has been published, in which many pages are devoted to the secret springs of the preparation and conduct of the trials of the 30s against the former leaders of the Bolshevik Party.

Thinking about Stalin’s time, your thoughts involuntarily turn to the revolution. And today it is seen in many ways differently. “We are told that the Russian revolution did not bring anything, that we have great poverty. Absolutely right. But... We have a perspective, we see a way out, we have will, desire, we see a path before us...” - this is what N. Bukharin wrote. Now we are wondering: what did this will do to the country, where did this path lead and where is the way out. In search of an answer, we begin to turn to the origins, to October.

It seems to me that A. Solzhenitsyn explores this more deeply than anyone else. Moreover, these issues are addressed in many of his books. But the main thing of this writer about the origins and beginning of our revolution is the multi-volume “Red Wheel”. We have already printed parts of it - “August the fourteenth”, “October the sixteenth”. The four-volume “March the Seventeenth” is also being published. Alexander Isaevich continues to work hard on the epic.

Solzhenitsyn persistently does not recognize not only the October, but also the February revolution, considering the overthrow of the monarchy a tragedy of the Russian people. He argues that the morality of the revolution and revolutionaries is inhumane and inhumane; the leaders of revolutionary parties, including Lenin, are unprincipled and think, first of all, about personal power. It is impossible to agree with him, but it is also impossible not to listen, especially since the writer uses a huge number of facts and historical evidence. I would like to note that this outstanding writer has already agreed to return to his homeland.

There are similar discussions about the revolution in the memoirs of the writer Oleg Volkov, “Plunge into Darkness.” , an intellectual and patriot in the best sense of the word, spent 28 years in prison and exile. He writes: “In the more than two years that my father lived after the revolution, it was already clearly and irrevocably determined: the harshly tamed peasant and the somewhat softer bridled worker had to identify themselves with the authorities. But it was no longer possible to talk about this, to expose imposture and deception, to explain that the iron lattice of the new order leads to enslavement and the formation of an oligarchy. And it’s useless..."

Is this the way to evaluate the revolution?! It's hard to say; only time will make a final verdict. Personally, I do not consider this point of view correct, but it is also difficult to refute it: you will not forget either about Stalinism or about the deep crisis of today. It is also clear that it is no longer possible to study the revolution and the civil revolution from the films “Lenin in October”, “Chapaev” or from V. Mayakovsky’s poems “Vladimir Ilyich Lenin” and “Good”. The more we learn about this era, the more independently we will come to some conclusions. A lot of interesting things about this time can be gleaned from Shatrov’s plays, B. Pasternak’s novel “Doctor Zhivago”, V. Grossman’s story “Everything Flows” and others.

If there are sharp differences in the assessment of the revolution, then everyone condemns Stalin’s collectivization. And how can it be justified if it led to the ruin of the country, the death of millions of hardworking owners, and a terrible famine! And again I would like to quote Oleg Volkov about the time close to the “great turning point”:

“Then they were just organizing the mass transportation of robbed men into the abyss of the desert expanses of the North. For the time being, they snatched it selectively: they would impose an “individual” unpaid tax, wait a little, and then declare him a saboteur. And then there’s lafa: confiscate the property and throw it in prison!...”

Vasily Belov tells us about the village before the collective farm in the novel “Eves”. The continuation is “The Year of the Great Turnaround, Chronicle of 9 Months,” which describes the beginning of collectivization. One of the true works about the tragedy of the peasantry during the period of collectivization is the novel - the chronicle of Boris Mozhaev “Men and Women”. The writer, relying on documents, shows how that stratum in the village is formed and takes power, which prospers from the ruin and misfortune of fellow villagers and is ready to be fierce in order to please the authorities. The author shows that the culprits of the “excesses” and “dizziness from success” are those who ruled the country.

1.Introduction

2.Search for a systematic analysis of the modern literary process.

3. Hypertextuality of modern Russian literature

4. The role of the writer’s creative individuality in the formation of the literary situation.

5. Conclusion.

• Today, in the depths of the modern literary process, such phenomena and movements as avant-garde and post-avant-garde, modern and postmodern, surrealism, impersionism, have been born or reanimated.

neosentimentalism, materialism, social art, conceptualism, etc.

• Literature voluntarily laid down

authority to act as a voice

public opinion and educator of human souls, and the places of positive heroes-beacons were taken by homeless people, alcoholics, murderers and representatives of ancient professions.

• If in 1986 the most read books according to the Book Review survey were: “Ulysses” by J. Joyce, “1984” by J. Orwell, “The Iron Woman” by N. Berberova, then in 1995

There is already a different kind of literature on the bestseller lists: “The Killer Profession,” “The Wolfhound’s Companions,” “The Filthy Cop.” This orientation of the mass reader has become a pressing problem in both school and university teaching of literature.

Morning

Veniamin Erofeev

Have you ever seen the sunrise? Have you ever watched how slowly, as if with incredible weight, the sun rises? When the first rays begin to dispel the darkness, liquefying and destroying it. When the sky turns from black to blue... in a matter of hours. And when, nevertheless, the first rays of the sun, which have just peeked out over the horizon, cut through the sky, you don’t think about anything and don’t listen to anything. Just watching. Because you won't see this anywhere else. And when you come to your senses, you wonder why you came back? Why aren't you there? What have you forgotten here?...

The intensification of the creativity of women writers at the end of the century is an objective and significant fact. Just as the beginning of the twentieth century was marked by the revival of women’s poetry, and modernism became a liberating element for the creativity of Russian women writers, who introduced freedom of feelings, individualism and subtle aestheticism into the culture of the Silver Age, so will the end

The century passes largely under the sign of the aesthetic discoveries of women writers.

A special place in genre form-making is occupied by dystopia. The evolution of dystopia, considered only from the 1990s to the end of the twentieth century, shows how complex and ramified the picture of genre mobility is. Losing its formal cruel features, it is enriched by new qualities, the main one of which is a unique worldview.

The complex picture of aesthetic dispersion is complemented by the situation in the region Russian poetry of the end centuries. It is generally accepted that prose dominates the modern literary process. Over the past decade, poetry has undergone an evolution from a state of almost complete booklessness to a situation where bookshelves and bookstore counters are sagging under the weight of poetry collections published either at the author's expense or at sponsorship in circulations of 300-500 copies. Poetry carries the same burden of time, the same aspirations to enter new specific zones of creativity. Poetry, more painfully than prose, feels the loss of reader attention and its own role as an emotional stimulant of society.

It is already stated in the titles of novels and is further implemented in tests: “Live in Moscow: manuscript as a novel” by D. Pirogov,"The Death of Tsar Feodor: micronovel" M.Yu. Druzhnikova, “Erosiped and other vignettes” by A. Zholkovsky. E. Popov defined the genre of his novel “Chaos” as collage novel, the title of the novel by S. Gandlevsky is “NRZB”, by N. Kononov - “gentle theater: shock novel."