Wwii theme. The Great Patriotic War in literature: the best works about the feat of the Soviet people. "Madonna of the rationed bread"

For research work, schoolchildren are offered themes of projects on the history of the Great Patriotic War... This section of history contains many global and private aspects for the individual study of the student.

The history of the topic of research work on the Second World War presented in the framework of the subject is always interesting and relevant, you can work on the topics both as a group and individually. Our task is to prevent the fading of the heroism of the Slavic people in the memory of subsequent generations.

Working on the theme of the project on the history of the Great Patriotic War, the student honors the memory of his ancestors and the people who lost their sons, daughters, husbands and fathers in the struggle for the bright future of their descendants.

Children can improve any topic of a research project on the history of the Second World War (Great Patriotic War) at their own discretion within the framework of the subject of history. Students are given a choice of topics about the heroism of the people who fell for the future of the country, about the history of their family in the war and post-war period, about military equipment and the contribution of allied countries.

Research topics on the history of the Second World War

Aviation of the Second World War.
Aviation during the Great Patriotic War.
Antiheroes of the Great Patriotic War.
Archive of the teacher of the school of the war years.
The battalion is missing ... in the archives.
The immortal feat of the Soviet people in the Great Patriotic War.
Immortality and power of Leningrad.
Battle of the Caucasus
Battle of Leningrad.
Battle for Moscow
Battle of the Stremilovsky line.
Battle of Moscow during the Great Patriotic War of 1941-1945.
The blockade of Leningrad in the mirror of fate
The blockade of Leningrad is in the fate of my great-grandfather.
Blockade
Blockade pages of my family history.
Military equipment 1941-1945
The combat path of the Normandie-Niemen air regiment.
Battle path of a tanker
Pain in mothers hearts
Armored vehicles of the Red Army 1941-1945.
Partisans went into battle
The Great Patriotic War in the history of my family
The Great Patriotic War in the names of city streets.
Great Victory in the history of my family
Great Patriotic War 1941-1945
The Great Patriotic War in the diaries of a Soviet soldier.
The Great Patriotic War in the life of my great-grandmother in the zone of occupation of German troops.
The Great Patriotic War in the fate of my great-grandfather.
The Great Patriotic War in the fate of my great-grandmother.
Great Patriotic War through the eyes of a child
The Great Patriotic War through the eyes of modern children.
The Great Patriotic War and teachers in the rear and on the front lines.
The Great Patriotic War: on the eve of the Yelets operation.
The Great Patriotic War on the Kursk land
The Great Patriotic War. Battle of Moscow
The Great Patriotic War: battles on the Blue Line.
Veteran of the Great Patriotic War.
The veteran lives nearby.
To veterans from a grateful generation.

Topics of research projects on the history of the Second World War (continued)

Themes of design work on the history of the Great Patriotic War:

Milestones of the Victory of 1941-1945
V.P. Chkalov and our land
Into the sky from Ibres. Alexey Maresyev
In memory of the guards division
In memory of the heroes of the Battle of Stalingrad.
Memorial in the monument
Leading fighters of the Second World War.
Return the name to the soldier
Contribution of English-speaking countries to victory in World War II.
A look at the Great Patriotic War through the exploits of the heroes - the Konakovites.
Prisoners of war during the Second World War
Warriors-Vagays in the migration flows of the Great Patriotic War.
War is not only grief, but also love.
War through the eyes of village girls. "How scary ...". According to the recollections of participants in hostilities and the labor front.
The restoration of railway bridges is a significant contribution to the victory in the Great Patriotic War.
Time to Pay Debts: The Work of Soviet Concentration Camps during the Great Patriotic War.
Everything for the front! Everything for Victory!
“We all lived in expectation of peace”: The war and the first post-war years in the fate of fellow villagers based on materials from the local press, archival documents and oral sources.
Let's remember the years of war ... The story of my great-grandmother.
The Second World War. Generations
The Second Front and Siberia during the Second World War.
Heroes in the house
The voices of the fallen are the conscience of the living
Hero cities
The bitter childhood of the children of war
The town of Shakhty during the Great Patriotic War.
Heroes of the Soviet Union are our fellow countrymen.
Heroes of our city.
The heroes of our village.
Hero of the Soviet Union E.V. Mikhailov.
Hero of the Soviet Union - N.F. Gastello.
The hero of the story and the story of the hero.
Hero City Stalingrad.
Year 41 is holy only by them
Victory Day.
Hospital cases in archival records.
Children during the Great Patriotic War.
Children of war
Children of besieged Leningrad
Children in fascist death camps.
Childhood fiery years
Childhood in a blockade ring.
A childhood scorched by war.
Children are heroes of the Great Patriotic War of 1941-1945.
My great-grandmother's childhood during the war
The activities of the Romanian troops during the Great Patriotic War.
The day the blockade of Leningrad was lifted on January 27, 1944.
The long war days of 1941-1945
The roads of war. For the victory over Japan.
Debatable problems of the Second World War.
Spiritual and moral feat of the inhabitants of Leningrad.
Railway transport during the Great Patriotic War.
Women's share during the Great Patriotic War (according to the recollections of my great-grandmother).
Woman in War: Evolution of the Phenomenon
Women in the Great Patriotic War.
The life of the local population in the rear during the Great Patriotic War.
Living chronicle of the war
The life of my family during the Great Patriotic War.
Beyond the Possible (disabled pilots).
A soldier froze at the school doorstep.
Defenders of the Brest Fortress
The significance of the battle for Leningrad in the history of the Great Patriotic War.
The value of penicillin during the Great Patriotic War.
Games and toys for children of war
From the family archive to the school museum. A debt of memory.
Research and development of recipes for wartime bread.
A story of two parades.
I.I. Smirnov: Buchenwald through the eyes of a prisoner.
The history of selected military songs (They were fighting for a feat).
History of one order
The history of the plane is the history of Victory.
History of front-line writing
The story of my family during the Great Patriotic War.
History of posters during the Second World War.
The life story of a veteran of the Great Patriotic War.
Their weapon is a movie camera

"KATYUSHA" BM-13 is a weapon of victory.
Cynological service during the Great Patriotic War.
Concentration camps of the Third Reich.
Cryptography during the Second World War.
Battle of Kursk
Leningrad notebook of my great-grandmother.
Chroniclers of the Victory.
Mathematics during the Great Patriotic War.
Mathematicians and mathematics during the Great Patriotic War.
Marshal Zhukov - Man and Hero.
Marshal Zhukov - Marshal of Victory!
Little-known pages of the heroic defense of Stalingrad.
International relations on the eve of World War II.
My grandfather is an order bearer
The methods used by I.V. Stalin to mobilize the people and the army during the Great Patriotic War of 1941-1945.
Modernization of the T-34 tank.
My great-grandfather is a Hero of the Soviet Union.
My great-grandfather is a WWII veteran.
My great-grandfather died in the war.
My great-grandfather is a front-line soldier.
My great-grandfather is a veteran of the Great Patriotic War.
Awards of the Great Patriotic War.
Our grandfathers wear military orders.
Our fellow countrymen during the Great Patriotic War.
Our fellow countrymen are heroes of the Soviet Union.
The find comes from the war
Our legacy is the memory of the WWII veteran.
Veteran does not grow old in soul
Not only remember the names of the heroes, but look them in the eyes.
Unknown war heroes.
Juvenile prisoners of fascism.
Defense of the Brest Fortress
Defense of the Caucasus during the Great Patriotic War.
One page from the life of the heroes of the Great Patriotic War of my native village.
Infantry weapons of the Great Patriotic War 1941-1945.
Assessment of the personality and activities of the commander G.K. Zhukov in the Great Patriotic War.
What did they write about in October 1941?
What the front letters told about.
Clothes and footwear of children of war.
He fought for his homeland
They survived the war
Auschwitz is the Nazi death factory.
Liberation of Northern Norway.
Partisan movement during the Great Patriotic War.
Partisans against the Wehrmacht. War on the rails.
Patriotism of Russian Germans during the Great Patriotic War.
Monuments of the immortal feat.
Memory of a soldier
The turning points of the Great Patriotic War of 1941-1945.
Songs at the front
Songs of the war years.
Pioneer heroes scorched by war.
Victory was forged not only at the front.
My great grandfather's victory
The feat of the defenders of the 30th battery during the Great Patriotic War.
The feat of the Don and Kuban Cossacks in the 1942 summer military campaign.
The feat of the legendary pilot and polar explorer, hero of the Great Patriotic War, Colonel E.K. Pusepa.
The exploits of my great-grandfather.
The commander G.K. Zhukov
Pushkin's descendants are participants in the Great Patriotic War.
Posters during the Great Patriotic War.
Wartime posters.
The poster is fighting.
Along the distant routes of the war.
Third Reich policy towards the Slavs
Helping Great Britain and the United States to heroic Stalingrad.
The last days of the war (on the landing on the Frische-Nerung spit).
The last village veteran
Zhukov's plan of May 15, 1941
The truth about the fascist occupation

Orthodox Church during the Great Patriotic War.
The defeat of the Germans near Moscow
The role of physicists in the Great Patriotic War.
The role of chemistry during the Great Patriotic War.
The role of northern convoys in World War II.
Defense lines of Moscow
Russian Orthodox Church during the Great Patriotic War.
Since the war, the letter is kept in the family ...
Battle of Smolensk, 1941
Battle of stalingrad
The Battle of Stalingrad through the eyes of children.
The Battle of Stalingrad is a radical turning point in the Great Patriotic War.
The judgment of history. Nuremberg trials
Aircraft of the times of the Great Patriotic War.
Link of times. 1941 and 2013 parades.
Soviet aviation against the Luftwaffe in the Great Patriotic War.
Soviet prisoners of war. Forgotten names.
The Soviet people are the victorious people
Soviet-German relations 1933-1945 through the prism of cartoons and posters.
Soldier of the Great Victory
Pages of the history of the Great Victory.
Small arms of the Great Patriotic War.
Comparative characteristics of the combat potential of the armored forces of the Wehrmacht and the Red Army at the second stage of the Great Patriotic War.
Comparative characteristics of military equipment (tanks and aircraft) of the Soviet Union and Nazi Germany, which took part in the Battle of Kursk.
Pages of history. Development of small arms at the "Lartsevy Polyany" training ground on the eve and during the Great Patriotic War.
The fate of the Soviet falcon
Tank T-34: memory of the war.
Tank 34 is the best tank of all time.
Legendary tank T-34
Tanks of the Second World War.
Tank battle at Prokhorovka.
Tanks of Tankograd.
My comrade is shaggy. From the history of the use of dogs on the fronts of the Great Patriotic War.
Totalitarianism and war.
The tragic fate of the Brest Fortress.
Labor and military feat of Soviet scientists, designers, inventors during the Great Patriotic War.
Heavy tanks of the USSR in World War II.
Living conditions of Stalingrad citizens during the war years (1942-1945).
Khatyn is a mournful page of the Great Patriotic War.
Holocaust and Nazi occupation regime.
The Holocaust as a manifestation of anti-Semitism
The Holocaust is a tragedy of the 20th century!
The price of victory
What does the youth know about the history of the Great Patriotic War.
Chukotka during the war.
Penal battalions
This proud word is Victory!
I was not in that war
Echoes of war in my family.
This is Victory Day.
We defended this day as best we could ...

Manzhikova Dana

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MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION "SECONDARY EDUCATIONAL SCHOOL №18 named after BB. Gorodovikov "

abstract

The theme of the Great Patriotic War in Russian literature of the 20th century

Performed:

11th grade student

Manzhikova Dana

Supervisor:

teacher of Russian language

and literature

Dordzhieva A.A.

Elista, 2017

Introduction

The Great Patriotic War died down long ago. Generations have already grown up that know about it from the stories of veterans, books, films. The pain of loss subsided over the years, the wounds healed. It has long been rebuilt, restored destroyed by the war. But why did our writers and poets turn and turn to those old days? Maybe the memory of the heart haunts them ...

War still lives on in the memory of our people, and not only in fiction. The military theme raises the fundamental questions of human existence. The main hero of military prose is an ordinary participant in the war, its inconspicuous worker. This hero was young, did not like to talk about heroism, but honestly fulfilled his military duties and turned out to be capable of feat not in words, but in deeds.

The theme of the Great Patriotic War is one of the main themes in the literature of the 20th century. How many lives did the war take, at what cost was the victory won? Reading works about the Great Patriotic War, you involuntarily ask yourself these questions.

On the grave of the Unknown Soldier in Moscow, the words are carved: "Your name is unknown, your feat is immortal." Books about the war are also like a memorial to the dead. They solve one of the problems of upbringing - they teach the young generation to love the Motherland, endurance in trials, teach high morality on the example of fathers and grandfathers. Their importance is growing more and more in connection with the enormous relevance of the topic of war and peace in our days.

It is very difficult for us, the younger generation, to imagine war, we know about it only from the pages of books and the memoirs of veterans, who are getting smaller and smaller every day. But we are obliged to convey the memory of the war to our descendants, to convey the heroism and resilience of people who stood to death for their homeland.

1. B. Vasiliev. The story "Not included in the lists"

To the depths of my heart, I was struck by the reading of B. Vasiliev's story "Not included in the lists." Brest. Legendary fortress. The granite path leading to the grave of the heroes glows in red. One of them, Nikolai Pluzhnikov, was told by Boris Vasiliev in his novel “Not on the lists”.

A happy young man who has just received the rank of lieutenant along with other graduates of the military school. Nikolai arrived at his destination on the night that separated the world from the war. He did not have time to register, and at dawn a battle began, which lasted for Pluzhnikov continuously for more than 9 months. Telling about the short life of the lieutenant, who by the time of his death was 20 years old, the writer shows how the young man becomes a hero, and all his behavior in the fortress is a heroic deed.

Nikolai - a hero not from birth, while still a cadet, developed a sense of duty and personal responsibility for the present and future of the Motherland - qualities without which the feat would not have taken place. In the harshest conditions of war, he is forced to make independent decisions, first of all, he thinks about the danger in which the Motherland is, and not about himself. After all, he could leave the fortress, and this would not be either desertion or betrayal of the order: he did not appear on any lists, he was a free man ... A sense of unity with other defenders of the fortress, with the whole people, is strengthened in the hero's mind. about the death of Vladimir Denshchik, who saved him, and understands that he survived only because someone died for him. N. Pluzhnikov bravely remains at the soldier's combat post until the end. On April 12, 1942, when it was already the tenth month of the war, a hoarse but triumphant laugh of the unconquered was heard from the fortress. It was Nikolai who saluted Moscow, having learned that the enemies could not take it. And on the same day, he went out, blind, exhausted, gray-haired, to say goodbye to the sun. “The fortress did not fall; she just bled out, ”and Pluzhnikov was her last straw.

1. V. Bykov. The story "Sign of Trouble"

In the center of V. Bykov's story "The Sign of Trouble" is a man at war. A person does not always go to war, she herself sometimes comes to his house, as happened with two Belarusian old men, peasants Stepanida and Petrok Bogatko. The farm where they live is occupied. Policemen come to the estate, and behind them - and fascists. They are not shown by V. Bykov as cruel and atrocious, they just come to someone else's house and are located there as owners, following the idea of ​​their Fuhrer that anyone who is not an Aryan is not a person, in his house you can inflict complete ruin, but the inhabitants of the house themselves - perceived as a draft animal. And that is why it is so unexpected for them that Stepanida is not ready to obey them unquestioningly. Not allowing yourself to be humiliated is the source of this middle-aged woman's resistance in such a dramatic situation. Stepanida is a strong character. Human dignity is the main thing that drives her actions. “During her difficult life, she nevertheless learned the truth and, bit by bit, acquired her human dignity. And the one who once felt like a man will never become a cattle, ”V. Bykov writes about his heroine. At the same time, the writer does not just draw us this character - he reflects on the origins of its formation.

What was happening in the countryside before the war became the “sign of trouble” that Bykov speaks of. Stepanida Bogatko, who “for six years, not sparing herself, struggled with the laborers,” believed in a new life, was one of the first to enroll in a collective farm - it’s not without reason that she is called a rural activist. But she soon realized that the truth that she was looking for and waiting for was not in this new life. Fearing suspicion of conniving at the class enemy, it is she, Stepanida, who throws angry words to an unfamiliar man in a black leather jacket: “Is there no need for justice? You smart people, don't you see what is being done? " More than once Stepanida is trying to interfere in the course of the case, to intercede for Levon, who was arrested on a false denunciation, to send Petrok to Minsk with a petition to the CEC chairman himself. And every time her resistance to untruth runs into a blank wall. Unable to change the situation alone, Stepanida finds an opportunity to preserve herself, her inner sense of justice, to move away from what is happening around: “Do what you want. But without me. " It was in the pre-war years that one should look for the source of the formation of Stepanida's character, and not in the fact that she was an activist collective farmer, but in the fact that she managed not to succumb to the general rapture of deception, empty words about a new life, managed not to succumb to fear, managed to keep in herself human nature. And during the war years, it determined her behavior. In the finale of the story, Stepanida dies, but dies, not resigning himself to fate, but resisting it to the last. One of the critics remarked ironically that “there was great damage done by Stepanida to the enemy army”. Yes, the visible material damage is not great. But something else is infinitely important: by her death, Stepanida proves that she is a person, and not a working brute that can be reproached, humiliated, forced to obey. Resistance to violence manifests that strength of character of the heroine, which, as it were, refutes death, shows the reader how much a person can, even if he is alone, even if he is in a desperate situation.
Next to Stepanida, Petrok is shown as a character, if not opposite to her, then, in any case, completely different - not active, but rather timid and peaceful, ready for compromise.
Petrok's infinite patience is based on a deep conviction that you can talk kindly with people. And only at the end of the story, this peaceful man, having exhausted all his patience, decides to protest, openly rebuff.
The folk tragedy, shown in the story of V. Bykov "The Sign of Trouble", reveals the origins of genuine human characters.

1. Yu. Bondarev. The novel "Hot Snow".

The novel Hot Snow by Yuri Bondarev is dedicated to the events near Stalingrad in the winter of 1942. His heroes not only perform deeds, but also comprehend their actions. And therefore, this novel is a work not only about heroism and courage, but also about the inner beauty of our contemporary, who defeated fascism in a bloody war.

The novel takes place over the course of one day, starting from the moment when Lieutenant Drozdovsky's battery was stationed at firing positions one hundred kilometers from Stalingrad and entered into battle with German tanks, breaking through to the rescue of Field Marshal Paulus and his sixth army, who were surrounded in the city on the Volga. and ending with that hour when the batteries were almost completely destroyed by their guns, nevertheless they did not let the enemy pass. Memorable figures on the pages of the novel are senior sergeant Ukhanov, gunners Nechaev and Evstigneev, foreman Skorik, sleds Rubin and Sergunenko, medical instructor Zoya Elagina. All of them were brought together by a sacred duty - to defend the Motherland.

Yu. Bondarev says that the soldier's memory prompted him to create this work: “I recalled a lot that over the years I began to forget: the winter of 1942, cold, steppe, ice trenches, tank attacks, bombing, the smell of burning and burning armor ... "

Conclusion

Preserving the memory of the victims is sacred. How high is the price of this victory! We do not know exactly how many people have died in these four years in the country: twenty million, twenty-seven million, or even more. But we know one thing: the instigators of the war are not people. And the more we know about the lessons of history, including about the war, the more vigilant we will be, the more we will value a peaceful life, respect the memory of the fallen, be grateful to that generation of people who defeated the enemy, reached his very lair. The pain of the lost is the eternal pain of our people. And it is impossible to erase from memory everything that was in the war, because "This is not needed by the dead, this is needed by the living," that is, to all of us, including the youth.

The victory came to us thanks to the deep patriotism of the fighters. Every Soviet person understood that he had no right to surrender his homeland to his enemies.

I perceive the Great Patriotic War as a great grief and tragedy for millions of people. After all, almost every inhabitant of Russia lost his relatives and friends in that war. And at the same time, I see this war as a grandiose triumph of patriotism, love for the Motherland. I think that every fighter at that time was aware of our righteousness and the sanctity of the duty that lay on every citizen of the country.

I am deeply grateful to our veteran for the fact that now I live in free Russia. War is always scary. This is pain, grief, tears, torment, suffering, hatred.

The words of R. Rozhdestvensky sound like an incantation:

People!
As long as hearts are beating

Remember!
At what cost was wonhappiness ,

Please remember!

Bibliography.

1. Bocharov A. .. "Man and War".
2. Borshagovsky A.M. One battle and a whole life. Moscow 1999
3. Dukhan Ya.S. The Great Patriotic War in prose 70-80s Leningrad 1982
4. Zhuravleva A.A. Prose writers during the Great Patriotic War. Moscow "Education", 1978
5. Leonov. "Epic of Heroism".
6. Literature of the great feat. The Great Patriotic War in literature. Issue 3. Moscow 1980
7. Mikhailov O. “Loyalty. Homeland and Literature ”.
8. Ovcharenko A. “New heroes - new ways”.

The theme of the Great Patriotic War in modern literature

Approximate text of the essay

The Great Patriotic War has already become history for us. We learn about it from books, films, old photographs, the memories of those who were lucky enough to live to see Victory. Participants and eyewitnesses of those tragic events wrote about her. And now this topic continues to excite writers who open up new aspects and problems in it. Among the remarkable works about the war are B. Vasiliev's novellas "The Dawns Here Are Quiet", "Not on the Lists", Yu. Bondarev's novel "Hot Snow" and many others.

But I want to turn to V. Grossman's novel "Life and Fate", which was written in 1960, but only in the late 1980s became known to the general reader. Therefore, it is perceived as a contemporary work about the war. In the center of the image is the Battle of Stalingrad, which was a turning point in the Great Patriotic War. However, Grossman's novel amazes with the breadth of coverage of military reality, the variety of destinies and characters, the author's deep and interesting thoughts. As a full-fledged character, the Soviet totalitarian state enters the novel, with which the heroes of Grossman are waging a fierce duel. Terrible, powerful, omnipresent, it breaks and destroys human destinies, imperiously intervenes in front-line everyday life, affirming the cult of violence with its authority.

When you read the novel, you get the impression that Soviet soldiers and home front workers are waging an exhausting struggle not only against fascism for the liberation of Russia, but for their personal freedom from the totalitarian might of their native state. Among the heroic defenders of Stalingrad, Captain Grekov stands out. The desperate daredevil, in whom an ineradicable sense of freedom lives, has already been noted as a peddler of sedition, a dangerous element. The captain, who gathered people in the besieged house "six fractions one", repulsed 30 attacks, destroyed 8 tanks, is accused of guerrilla warfare. The political administration of the front sends combat commissar Krymov to the surrounded house in order to establish Bolshevik order there and, if necessary, remove Grekov from command. Yes, he famously fights the Germans, despising death, but his willful behavior is unacceptable, because it violates the unshakable order. Indeed, he can easily disrupt the wireless connection with the house simply because he is tired of the strict suggestions of the command, flatly refuse to keep a diary of military operations, boldly respond to the commissioner's interrogation with partiality. While Grekov's fighters are fighting heroically with the enemy, the divisional commander is more concerned with the question of how to liquidate this "state within a state", to eradicate the spirit of freedom that the fighters have become infected with. But even the experienced commissar Krymov did not manage to cope with this responsible task, because in the house "six fractions one" he encountered free people who do not give in to the party's envoy. They feel strong and confident, they do not need the moral support of the commissioner. They have enough courage to boldly look death in the eye. Instead of respectful attention, Krymov hears the mocking questions of the soldiers about when the collective farms will be liquidated, how the principle of communism will be implemented in practice: "To each according to his needs." When an angry Krymov speaks directly about his goal - to overcome the unacceptable partisanship, Grekov boldly asks: "Who will overcome the Germans?" A mortal battle with fascism, oddly enough, gives people a feeling of fearlessness, independence, freedom, which for several decades was ruthlessly suppressed by the state. And during the war, this national disaster, the methods of imposing violence remained the same - denunciations accusing a person of non-existent sins. From this familiar ending Grekov is saved by a heroic death during the German offensive.

Courage is required for Grossman's heroes not only to fight the Nazis. It is necessary in order to take responsibility for the correct humane decision, which is contrary to orders from above. Such a bold act is being done by the commander of a tank corps, Novikov. He voluntarily extends the artillery barrage by 8 minutes, contrary to the orders of the front commander and Stalin himself. Novikov did this in order to keep as many of the "unshorn guys from the replenishment" as possible alive. In war, murder is a common thing, but you can avoid unnecessary casualties with clear, well-thought-out decisions. From the point of view of Commissar Getmanov, the corps commander committed a daring and reckless act, which should be reported where it should be. For Getmanov, the need to sacrifice people for the cause always seemed natural and undeniable, and not only during the war. Here Grossman touches upon the problem of moral achievement, which reveals the height of the human spirit, reveals powerful inner forces, often hidden behind a modest, inconspicuous appearance.

The teacher Ales Moroz from the story "Obelisk" by V. Bykov became such a hero. He died during the Great Patriotic War, but his memory continues to live in the hearts of people. They remember, talk, argue about him, without coming to one opinion, differently assessing his last act. The writer invites the reader to take a close look at this extraordinary man, whose figure is gradually acquiring new, real, visible features in Tkachuk's story. Why, many years after the war, the personality of Moroz continues to excite the old partisan so much? He knew Ales Ivanovich even in peacetime, when he worked as the head of the district. And even then he felt the originality of this modest rural teacher, his dissimilarity from his colleagues. Ales Ivanovich could shelter a boy whom his father abused, without fear of a scandal and a summons to court, he could read for hours with Tolstoy's children in order to teach them to listen and understand the beautiful, and not talk about the delusions of the classics, as the school curriculum recommended. Only now, years later, Tkachuk realizes that what was most important for Moroz was not the knowledge acquired by the students, but what kind of people they would become. So when the war started. Moroz did not go, like many, to the partisan detachment, but continued to teach the children, causing sidelong glances and unkind suspicions. He did this in order to prevent the "dehumanization" of these guys by the Nazis, for he had invested too much in them. Indeed, he raised them as patriots, fighters against injustice and evil. Without initiating the teacher into their plans, they tried to kill a local policeman, but were captured by the Nazis and sentenced to death. The teacher managed to escape, but he leaves the partisan detachment in order to voluntarily surrender to the Germans. Why did he do this reckless act? After all, he could not believe the Nazis, who promised to release the students if the teacher himself surrendered. Yes, he really couldn't save the guys. They were executed by the Nazis together with Moroz. But in this difficult situation, he could not do otherwise, he simply had to morally support the teenagers in the most terrible moments of their life. True, one of them, Pavlik Miklashevich, miraculously managed to escape. But his health was finally undermined by the fact that with a piercing wound in the chest, he lay in a ditch with water until local residents found him. It was on his initiative that a modest obelisk with the names of the children executed by the Nazis was erected near the school where he worked as a teacher. How much effort he had to exert to make the name of Moroz appear here; a person who has accomplished a great moral feat, who sacrificed his life for the sake of the children.

Writings about the Great Patriotic War, telling about the terrible, tragic events, make us understand at what price the victory was won. They teach goodness, humanity, justice. Books about the war are a miraculous monument to Soviet soldiers who defeated fascism in a fierce battle with the enemy.

Terminological minimum: periodization, essay, "generals" prose, "lieutenant" prose, memoirs, epic novel, "trench" literature, writers' diaries, memoirs, genre of documentary prose, historicism, documentary.

Plan

1. General characteristics of the literary process during the Great Patriotic War (1941-1945).

2. The theme of the war as the main one in the development of the literary process in the late 1940s and early 1960s. (opposition of "general" and "lieutenant" prose).

3. "Trench Truth" about the war in Russian literature.

4. Memoirs and fiction in literature about the Great Patriotic War.

Literature

Study texts

1. Astafiev, V. P. Cursed and killed.

2. Bondarev, Yu. V. Hot snow. Coast. The battalions are asking for fire.

3. Bulls, V. V. Sotnikov. Obelisk.

4. Vasiliev, BL Tomorrow was a war. Not on the lists.

5. Vorobiev, KD It's us, Lord!

6. Grossman, V. S. Life and destiny.

7. Kataev, V. P. Son of the regiment.

8. Leonov, L. M. Invasion.

9. Nekrasov, V. P. In the trenches of Stalingrad.

10. Simonov, KM The Living and the Dead. Russian character.

11. Tvardovsky, A. T. Vasily Terkin.

12. Fadeev, A. A. Young Guard.

13. Sholokhov, MA They fought for the Motherland. The fate of a person.

The main

1. Gorbachev, A. Yu. The military theme in prose of the 1940–90s. [Electronic resource] / A. Yu. Gorbachev. - Access mode: http: // www. bsu.by> Cache /219533/.pdf (date accessed: 04.06.2014)

2. Lagunovsky, A. General characteristics of the literature of the period of the Great Patriotic War [Electronic resource] / A. Lagunovsky. - Access mode: http: // www. Stihi.ru / 2009/08/17/2891 (date of access: 02.06.2014)

3. Russian literature of the XX century / ed. S. I. Timina. - M.: Academy, 2011 .-- 368 p.

Additional

1. Bykov, V. “These young writers saw the sweat and blood of war on their tunic”: correspondence between Vasily Bykov and Alexander Tvardovsky / V. Bykov; entry Art. S. Shaprana // Questions of literature. - 2008. - No. 2. - P. 296–323.

2. Kozhin, A. N. On the language of military documentary prose / A. N. Kozhin // Philological sciences. - 1995. - No. 3. - P. 95–101.

3. Chalmaev, V. A. Russian prose 1980–2000: At the crossroads of opinions and disputes / V. A. Chalmaev // Literature at school. - 2002. - No. 4. - P. 18–23.

4. Man and War: Russian fiction about the Great Patriotic War: bibliographic list / ed. S.P.Bavin. - M.: Ipno, 1999 .-- 298 p.

5. Yalyshkov, V. G. Military stories of V. Nekrasov and V. Kondratyev: the experience of comparative analysis / V. G. Yalyshkov // Bulletin of Moscow University. - Ser. 9. Philology. - 1993. - No. 1. - P. 27–34.

1. The Great Patriotic War is an inexhaustible topic in Russian literature. The material, the author's tonality, plots, characters change, but the memory of the tragic days lives on in the books about her.

More than 1000 writers went to the front during the war. Many of them directly participated in battles with the enemy, in the partisan movement. For military merits 18 writers received the title of Hero of the Soviet Union. About 400 members of the Writers' Union did not return from the battlefield. Among them were both young people, who published one book each, and experienced writers known to a wide range of readers: E. Petrov, A. Gaidar
and etc.

A significant part of professional writers have worked in newspapers, magazines, and the mass press. War correspondent is the most common job for fiction writers.

Lyrics turned out to be the most "mobile" kind of literature. Here is a list of publications that appeared already in the first days of the war: on June 23, on the first page of Pravda, A. Surkov's poem "We Oath of Victory" appeared, on the second - by N. Aseev "Victory will be ours"; June 24 Izvestia publishes The Sacred War by V. Lebedev-Kumach; June 25 Pravda publishes A. Surkov's Song of the Brave; June 26 the newspaper "Krasnaya Zvezda" begins to publish a series of essays by I. Ehrenburg; June 27 "Pravda" with the article "What are we defending" opens the journalistic cycle
A. Tolstoy. This dynamics is indicative and reflects the demand for artistic material.

It is noteworthy that the theme of the lyrics changed dramatically from the very first days of the war. Responsibility for the fate of the Motherland, the bitterness of defeat, hatred of the enemy, perseverance, patriotism, loyalty to ideals, faith in victory - this was the leitmotif of all poems, ballads, poems, songs.

The lines from the poem by A. Tvardovsky "To the Partisans of Smolensk" became indicative: "Arise, my whole region, defiled, against the enemy!" The "Holy War" by Vasily Lebedev-Kumach conveyed a generalized image of time:

May the noble rage

Boils like a wave

- There is a people's war,

Holy war! [P.87] 7

Odic verses, expressing the anger and hatred of the Soviet people, were an oath of loyalty to the Fatherland, a guarantee of victory, and reflected the inner state of millions of Soviet people.

Poets turned to the heroic past of their homeland, drew historical parallels that are so necessary for raising morale: "The Lay of Russia" by M. Isakovsky, "Rus" by D. Bedny, "Duma of Russia"
D. Kedrin, "The Field of Russian Glory" by S. Vasiliev.

The organic connection with Russian classical poetry and folk art helped the poets to reveal the traits of their national character. Concepts such as "Motherland", "Rus", "Russia", "Russian heart", "Russian soul", often included in the title of works of art, acquired unprecedented historical depth and strength, poetic volume and imagery. So, revealing the character of the heroic defender of the city on the Neva, the Leningrad woman of the blockade period, O. Bergholz states:

You are Russian - with breath, blood, thought.

You weren't united yesterday

Habakkuk's peasant patience

And the royal fury of Peter [p.104].

A number of poems convey the soldier's feeling of love for his "small homeland", for the house in which he was born, for the family that remained far away, for those "three birches" where he left part of his soul, his pain, hope, joy ( "Homeland" by K. Simonov).

The most touching lines of many writers of this time are dedicated to a mother-woman, a simple Russian woman who accompanied her brothers, husband and sons to the front, who survived the bitterness of irreparable loss, who endured inhuman hardships, hardships and hardships on her shoulders, but did not lose her faith.

Memorized every porch

Where did I have to step

I remembered all the women in the face,

Like your own mother.

They shared bread with us -

Whether wheat, rye, -

They took us out to the steppe

A secret path.

Our pain was sick with them, -

Your own misfortune does not count [p.72].

The poems of M. Isakovsky "Russian woman", lines from the poem of K. Simonov "Do you remember, Alyosha, the roads of Smolensk ..." sound in the same tone.

The truth of the times, the belief in victory permeate the poems of A. Prokofiev ("Comrade, you saw ..."), A. Tvardovsky ("The Ballad of a Comrade") and many other poets.

The work of a number of major poets is undergoing a serious evolution. So, the lyrics of A. Akhmatova reflect the high civic consciousness of the poetess, the patriotic sound was received by purely personal experiences. In the poem Courage, the poetess finds words, images that embody the irresistible fortitude of the fighting people:

And we will save you, Russian speech,

Great Russian word.

We will carry you free and clean.

We will give it to our grandchildren, and we will save from captivity

Forever! [p.91].

The fighting people equally needed angry lines of hatred and soulful poems about love and fidelity. Examples of this are K. Simonov's poems "Kill him!"

Front songs occupy a special place in the history of the development of Russian verse. Thoughts and feelings set to music create a special emotional background and reveal the mentality of our people in the best way possible ("Dugout" by A. Surkov, "Dark Night" by V. Agatov, "Ogonyok"
M. Isakovsky, "An Evening on the Road" by A. Churkin, "The Roads" by L. Oshanin, "Here are the Soldiers Coming" by M. Lvovsky, "Nightingales" by A. Fatyanov, etc.).

We find the embodiment of the social, moral, humanistic ideals of the fighting people in such a large epic genre as the poem. The years of the Great Patriotic War were no less fruitful for the poem than the era of the 1920s. "Kirov is with us" (1941) by N. Tikhonova, "Zoya" (1942) by M. Aliger, "Son" (1943) by P. Antakolsky, "The February Diary" (1942) by O. Bergholz, "Pulkovo Meridian" (1943)
V. Inber, "Vasily Terkin" (1941-1945) by A. Tvardovsky - these are the best examples of poetry of that period. A distinctive feature of the poem as a genre at this time is pathos: attention to specific, easily recognizable details, synthesis of personal reflections about family, love and great history, about the fate of the country and the planet, etc.

The evolution of the poets P. Antakolsky and V. Inber is indicative. From oversaturation with associations and reminiscences of pre-war poetry
P. Antakolsky moves from reflections on the fate of a particular person to all mankind as a whole. The poem "Son" captivates with a combination of lyricism with high pathos, heartfelt sincerity with a civic principle. Here the touching personal turns into the general. High civic pathos, social and philosophical reflections determine the sound of V. Inber's military poetry. "Pulkovo Meridian" is not only a poem about the humanistic position of the Russian people, it is a hymn to the feelings and deeds of every person fighting for the Motherland and freedom.

The poem of the war years was distinguished by a variety of stylistic, plot and compositional solutions. She synthesizes the principles and techniques of the narrative and sublime romantic style. Thus, M. Aliger's poem "Zoya" is marked by the amazing fusion of the author with the spiritual world of the heroine. It inspires and accurately embodies moral maximalism and integrity, truth and simplicity. Moscow schoolgirl Zoya Kosmodemyanskaya voluntarily chooses a harsh lot without hesitation. The poem "Zoya" is not so much a biography of the heroine as a lyrical confession on behalf of a generation whose youth coincided with a terrible and tragic time in the history of the people. At the same time, the three-part structure of the poem conveys the main stages in the formation of the heroine's spiritual image. At the beginning of the poem, light but precise strokes only outline the image of the girl. Gradually, a big social theme enters the wonderful world of her youth (“We lived in the world bright and spacious ...”), a sensitive heart absorbs the anxieties and pain of the “shaken planet”. The apotheosis of a short life becomes the final part of the poem. About the inhuman torture that Zoya is subjected to in the fascist dungeon, it is said sparingly, but strongly, journalistically sharply. The name and image of the Moscow schoolgirl, whose life ended so tragically early, became a legend.

World famous poem by AT Tvardovsky "Vasily Terkin" - the largest, most significant poetic work of the era of the Great Patriotic War. Tvardovsky has achieved a synthesis of the private and the general: the individual image of Vasily Terkin and the image of the Motherland of different sizes in the artistic concept of the poem. This is a multifaceted poetic work that encompasses not only all aspects of front-line life, but also the main stages of the Great Patriotic War. In the immortal image of Vasily Terkin, the features of the Russian national character of that era were embodied with special force. Democracy and moral purity, greatness and simplicity of the hero are revealed by the means of folk poetry, the structure of his thoughts and feelings is related to the world of images of Russian folklore.

The era of the Great Patriotic War gave birth to poetry of remarkable strength and sincerity, angry publicism, harsh prose, passionate drama.

Over the years of the war, over 300 plays were created, but few were fortunate enough to survive their time. Among them: "Invasion" by L. Leonov, "Front" by A. Korneichuk, "Russian people" by K. Simonov, "Officer of the Fleet" by A. Kron, "Song of the Black Sea Fleet" by B. Lavrenev, "Stalingraders" by Y. Chepurin, etc. ...

Plays were not the most mobile genre of the time. The turning point in drama was 1942.

The drama "Invasion" by L. Leonov was created at the most difficult time. The small town where the events of the play unfold is a symbol of the nationwide struggle against the invaders. The significance of the author's intention lies in the fact that he comprehends local conflicts in a broad socio-philosophical key, reveals the sources that feed the force of resistance. The play takes place in the apartment of Dr. Talanov. Unexpectedly for everyone, Talanov's son Fyodor returns from prison. The Germans entered the city almost at the same time. And along with them appears the former owner of the house in which the Talanovs live, the merchant Fayunin, who soon became the mayor. From scene to scene the tension of the action grows. The honest Russian intellectual doctor Talanov does not think of his life aside from the struggle. Next to him are his wife Anna Pavlovna and daughter Olga. There is no question about the need to fight behind enemy lines for the chairman of the city council Kolesnikov: he is the head of a partisan detachment. This is one - the central - layer of the play. However, Leonov, a master of deep and complex dramatic collisions, is not content with just such an approach. Deepening the psychological line of the play, he introduces another person - the Talanovs' son. Fyodor's fate turned out to be confusing and difficult. Spoiled in childhood, selfish, selfish, he returns to his father's house after three years of imprisonment as punishment for the attempt on the life of his beloved woman. Fyodor is gloomy, cold, alert. The words of his father said at the beginning of the play about the nationwide grief do not touch Fyodor: personal hardships overshadow everything else. He is tormented by the lost trust of people, which is why Fedor is uncomfortable in the world. With their minds and hearts, the mother and the nanny realized that under the buffoon's mask Fyodor hid his pain, the longing of a lonely, unhappy person, but they could not accept his former self. Kolesnikov's refusal to take Fyodor into his detachment hardens the heart of young Talanov even more. It took time for this man, who once lived only for himself, to become a people's avenger. Fyodor, captured by the Nazis, pretends to be the commander of a partisan detachment in order to die for him. Psychologically, Leonov depicts Fyodor's return to people convincingly. The play consistently reveals how war, nationwide grief, suffering ignite hatred and a thirst for revenge in people, a willingness to give their lives for victory. This is how we see Fedor in the finale of the drama.

For Leonov, interest in the human character in all the complexity and contradictory nature of his nature, which consists of social and national, moral and psychological, is natural. The stage history of Leonov's works during the Great Patriotic War (apart from Invasion, the drama Lenushka, 1943 was widely known), which bypassed all the main theaters of the country, once again confirms the skill of the playwright.

If L. Leonov reveals the theme of heroic deed and the invincibility of the patriotic spirit by means of in-depth psychological analysis, then K. Simonov in the play "Russian People" (1942), posing the same problems, uses the methods of lyricism and journalism of open folk drama. The play takes place in the fall of 1941 on the Southern Front. The focus of the author's attention is both the events in Safonov's detachment, located not far from the city, and the situation in the city itself, where the invaders are in charge. "Russian People" is a play about the courage and resilience of ordinary people who owned very peaceful professions before the war: about the driver Safonov, his mother Marfa Petrovna, nineteen-year-old Vale Anoschenko, who drove the chairman of the city council, paramedic Globa. They would have to build houses, teach children, create beautiful things, love, but the cruel word "war" dispelled all hopes. People take rifles, put on overcoats, go into battle.

The play "Russian People" in the summer of 1942, at the most difficult time of the war, was staged on the stage of a number of theaters. The success of the play was also explained by the fact that the playwright showed the enemy not as a primitive fanatic and sadist, but as a sophisticated conqueror of Europe and the world, confident in his impunity.

The life and heroic deeds of our fleet became the theme of a number of interesting dramatic works. Among them: psychological drama
A. Krona "Officer of the Navy" (1944), a lyrical comedy by Vs. Azarov,
Sun. Vishnevsky, A. Krona "The wide sea is spread" (1942), B. Lavrenev's oratorio "Song of the Black Sea people" (1943).

Historical drama achieved certain achievements during this period. Such historical plays were written as the tragedy of V. Solovyov "The Great Sovereign", the dilogy of A. Tolstoy "Ivan the Terrible" and others. The turning points, the hard times of the Russian people - this is the main component of such dramas.

However, the greatest flourishing during the Great Patriotic War is reached by publicism. The greatest masters of the artistic word - L. Leonov, A. Tolstoy, M. Sholokhov - also became outstanding publicists. The bright, temperamental word of I. Ehrenburg was popular at the front and in the rear. A. Fadeev, V. Vishnevsky, N. Tikhonov made an important contribution to the journalism of those years.

A. N. Tolstoy (1883-1945) owns more than 60 articles and essays, created for the period 1941-1944. ("What are we defending", "Motherland", "Russian soldiers", "Blitzkrieg", "Why Hitler should be defeated", etc.). Referring to the history of his homeland, he convinced his contemporaries that Russia would cope with a new misfortune, as it had done more than once in the past. "Nothing, we'll do it!" - such is the leitmotif of A. Tolstoy's journalism.

L. M. Leonov also constantly turned to national history, but he spoke with particular acuteness about the responsibility of every citizen, because only in this he saw the guarantee of the coming victory ("Glory to Russia", "Your brother Volodya Kurylenko", "Rage", "Massacre "," To an unknown American friend ", etc.).

The central theme of the military journalism of I. G. Ehrenburg is the protection of universal human culture. He saw in fascism a threat to world civilization and emphasized that representatives of all nationalities of the USSR were fighting for its preservation (articles "Kazakhs", "Jews", "Uzbeks", "Caucasus", etc.). Ehrenburg's journalism style was distinguished by the sharpness of colors, the suddenness of transitions, and metaphor. At the same time, the writer skillfully combined documentary materials, a verbal poster, a pamphlet, and a caricature in his works. Essays and publicistic articles of Ehrenburg compiled the collection "War".

The second most mobile after a publicistic article was a military essay . Documentaryism became the key to the popularity of publications
V. Grossman, A. Fadeev, K. Simonov - writers whose words, created in hot pursuit, were awaited by readers at the front and in the rear. He owns descriptions of military operations, portrait travel sketches.

Leningrad became the main theme of V. Grossman's essay. In 1941 he was enrolled in the staff of the newspaper "Krasnaya Zvezda". Throughout the war, Grossman kept records. His Stalingrad essays, stern, devoid of pathos ("Through the eyes of Chekhov" and others), formed the basis of the idea of ​​a large work, which later became the dilogy "Life and Fate".

Since most of the stories, novellas, which were few in those years, were built on a documentary basis, the authors most often resorted to the psychological characteristics of the heroes, described specific episodes, and often retained the names of real people. So, in the days of the war, a kind of hybrid form of an essay-story appeared in Russian literature. This type of works includes "The Honor of the Commander" by K. Simonov, "The Science of Hatred" by M. Sholokhov, the series "Stories by Ivan Sudarev"
A. Tolstoy and "Sea Soul" by L. Sobolev.

The art of journalism has gone through several main stages in four years. If in the first months of the war she was characterized by a naked-rationalistic manner, often abstract-schematic ways of depicting the enemy, then at the beginning of 1942 journalism was enriched with elements of psychological analysis. In the fiery word of a publicist, both a rally note and an appeal to the spiritual world of a person sound. The next stage coincided with a turning point in the course of the war, with the need for an in-depth socio-political examination of the fascist front and rear, clarification of the root causes of the impending defeat of Hitlerism and the inevitability of just retribution. These circumstances caused the appeal to such genres as pamphlet and review.

At the final stage of the war, there was a tendency towards documentation. For example, in "Windows TASS", along with the graphic design of posters, the method of photomontage was widely used. Writers and poets introduced diaries, letters, photographs and other documentary evidence into their works.

The journalism of the war years is a qualitatively different stage in the development of this martial and active art in comparison with previous periods. The deepest optimism, unbreakable faith in victory - this is what supported the publicists even in the most difficult times. The appeal to history and the national origins of patriotism gave special power to their speeches. An important feature of journalism of that time was the widespread use of leaflets, posters, cartoons.

In the first two years of the war, over 200 stories were published. Of all the prose genres, only an essay and a story could compete in popularity with a story. The story is a genre very characteristic of the Russian national tradition. It is well known that in the 1920s – 1930s. dominated by the psychological, everyday, adventure and satirical-humorous varieties of the genre. During the Great Patriotic War (as well as during the Civil War), the heroic, romantic story came to the fore.

The desire to reveal the harsh and bitter truth of the first months of the war, achievements in the field of creating heroic characters are marked "Russian story" (1942) by Peter Pavlenko and V. Grossman's story "The people are immortal." However, there are differences between these works in the way the theme is embodied.

A characteristic feature of the military prose of 1942-1943. - the emergence of short stories, cycles of stories connected by the unity of the characters, the image of the narrator or a lyrical cross-cutting theme. This is how the "Stories of Ivan Sudarev" by A. Tolstoy, "The Sea Soul" by L. Sobolev, "March - April" by V. Kozhevnikov were constructed. The drama in these works is set off by a lyrical and at the same time sublimely poetic, romantic trait, which helps to reveal the spiritual beauty of the hero. Penetration into the inner world of a person deepens. The socio-ethical origins of patriotism are revealed more convincingly and artistically.

Towards the end of the war, prose gravitated towards a broad epic understanding of reality, which is convincingly proved by two famous writers - M. Sholokhov (the novel, which the author did not manage to finish - "They Fought for the Motherland") and A. Fadeev ("Young Guard" ). The novels are notable for their social scale, opening new ways in the interpretation of the theme of war. So, M. A. Sholokhov makes a bold attempt to portray the Great Patriotic War as a truly national epic. The very choice of the main characters, the rank and file of the infantry - the grain grower Zvyagintsev, the miner Lopakhin, the agronomist Streltsov - testifies to the fact that the writer seeks to show various strata of society, to trace how the war was perceived by different people and what paths led them to a huge, truly popular Victory.

The spiritual and moral world of Sholokhov's heroes is rich and diverse. The artist paints broad pictures of the era: sorrowful episodes of retreats, scenes of violent attacks, the relationship between soldiers and civilians, short hours between battles. At the same time, the whole gamut of human experiences can be traced - love and hatred, severity and tenderness, smiles and tears, tragic and comic.

If the novel by M. A. Sholokhov was not completed, then the fates of other works were remarkable, in them, as in a mirror, the era was reflected. For example, K. Vorobyov's autobiographical story "It's us, Lord!" was written in 1943, when a group of partisans, formed from former prisoners of war, was forced to go underground. Exactly thirty days in the Lithuanian city of Siauliai K. Vorobyov wrote about what he had to endure in Nazi captivity. In 1946 the manuscript was received by the editorial office of the Novy Mir magazine. At that moment, the author presented only the first part of the story, so the question of its publication was postponed until the end appeared. However, the second part was never written. Even in the personal archive of the writer, the story has not been preserved in its entirety, but some of its fragments were included in some of Vorobyov's other works. Only in 1985 the manuscript "This is us, Lord!" was discovered in the Central State Archives of Literature and Art of the USSR, where it was handed over together with the archive of the "New World". In 1986, K. Vorobyov's story finally saw the light of day. The protagonist of the work, Sergei Kostrov, is a young lieutenant who was taken prisoner by Germany in the very first year of the war. The whole story is devoted to the description of the life of Soviet prisoners of war in German camps. In the center of the work is the fate of the protagonist, which can be described as “the path to freedom”.

If the work of K. Vorobyov is a copy of his life, then A. Fadeev relies on specific facts and documents. At the same time, Fadeev's Young Guard is romantic and revealing, just like the fate of the author of the work.

In the first chapter, a distant echo of alarm sounds, in the second, a drama is shown - people leave their homes, blow up mines, the feeling of a folk tragedy permeates the narrative. The crystallization of the underground is going on, the ties of young fighters of Krasnodon with the underground are being manifested and strengthened. The idea of ​​the continuity of generations determines the basis of the plot structure of the book and is expressed in the depiction of underground workers (I. Protsenko, F. Lyutikov). Representatives of the older generation and Young Guard Komsomol members act as a united national force opposing Hitler's "new order".

The first completed novel about the Patriotic War was A. Fadeev's Young Guard, published in 1945 (the second book was published in 1951). After the liberation of Donbass, Fadeev wrote an essay about the death of Krasnodon youth "Immortality" (1943), and then conducted a study of the activities of an underground youth organization that independently operated in a town occupied by the Nazis. Harsh and austere realism coexists with romance, objectified narration is interspersed with agitated lyrics of the author's digressions. When recreating individual images, the role of the poetics of contrast is also very significant (Lyutikov's stern eyes and the sincerity of his nature; the boyish appearance of Oleg Koshevoy and not at all childish wisdom of his decisions; the dashing carelessness of Lyubov Shevtsova and the audacious courage of her actions, unbreakable will). Even in the outward appearance of the heroes, Fadeev does not deviate from his favorite technique: “clear blue eyes” by Protsenko and “demonic sparks” in them; The "harshly gentle expression" of the eyes of Oleg Koshevoy; white lily in Ulyana Gromova's black hair; "Blue childish eyes with a hard steel sheen" by Lyubov Shevtsova.

The history of the existence of the novel in world literature is remarkable. The fate of the work is indicative of the literary samples of the Soviet era.

Brainstorming technology application

Carrying out conditions: performing a pre-lecture assignment, dividing into groups (4–5 people).

Technology name	Technology options	Conditions / task	Predicted result
Change of point of view	Points of view of different people	Network version of the abstract	Revealing the difference and commonality of views of literary scholars and public figures. Conclusion about pressure on the author of the novel
Grouping changes	Knowledge of the texts of the novel by A. A. Fadeev "The Defeat" and the author's abstract of O. G. Manukyan	To consolidate the idea of ​​the inner world of writers, to compare the difference in the perception of the writer and critics
Auto-letter		A letter to yourself about the perception of the information contained in the abstract	Awareness of the author's position and identification of the peculiarities of the perception of his views by scientists
Curtsy		Assumes reproduction of the exact opposite of the stated position in the conclusions of the abstract	Promotes flexibility of mind, the emergence of original ideas, understanding of the author's position and empathy

If in the 1945 edition A.A.Fadeev did not dare to write about the existence in Krasnodon of yet another - non-Komsomol - anti-fascist underground, then in the new version of the novel (1951), ideologically conditioned deceit is added to this default: the author claims that the creators and the leaders of the Young Guard organization were communists. Thus, Fadeev denies his favorite heroes an important initiative. In addition, this book served as the basis for criminal prosecution, often unfounded, of real people who became the prototypes of negative heroes.

And yet, in our opinion, it should be noted that to this day this novel has not lost its relevance, including pedagogical.

2. The theme of the Great Patriotic War occupies a special place in Russian multinational literature. In the 1940s – 1950s, it developed a tradition of portraying war as a heroic period in the life of the country. From this perspective, there was no room left to show its tragic aspects. Throughout the 1950s. in the literature about the war, there is clearly a tendency to panoramic images of the events of the past in large canvases. The emergence of epic novels is one of the characteristic features of Russian literature in the 1950s – 1960s.

The turning point occurred only with the beginning of the "thaw", when the novels of front-line writers were published: "The battalions are asking for fire" (1957) by Yu. Bondarev, "South of the main blow" (1957) by G. Baklanov, "Crane cry" (1961), " The third rocket "(1962) V. Bykov," Starfall "(1961) V. Astafiev," One of us "(1962) V. Roslyakov," Scream "(1962)," Killed near Moscow "(1963) K. Vorobyov and others. Such a surge of interest in the military theme predetermined the emergence of a whole trend called "lieutenant prose."

"Lieutenant Prose" - this is the works of writers who went through the war, survived and brought to the reader's judgment their combat experience in one form or another. As a rule, this is fiction, mostly of an autobiographical nature. The aesthetic principles of "lieutenant prose" had a noticeable impact on the entire literary process of the second half of the 20th century. However, today there is no generally accepted definition of this literary movement. It is interpreted in different ways: as prose created by front-line soldiers who went through the war with the rank of lieutenant, or as prose, the protagonists of which are young lieutenants. The “general's prose” is characterized in a similar way, which means works created in the “general's” (epic novel) format by the “generals” of literature (for example, K. Simonov).

Speaking about the works created by front-line writers exploring the formation of a young participant in the war, we will resort to the concept of "lieutenant prose" as the most widely used one. At its origins was V. Nekrasov's novel In the Trenches of Stalingrad. The author himself, having gone through the war as an officer of a sapper battalion, was able to show in artistic form the "trench truth", in which the heroes were a simple soldier, a simple officer. And ordinary people - the people - won the victory. This theme became central to the best military prose in the 1950s – 1960s.

In this regard, the following authors and their works can be mentioned. The story of K. Vorobyov (1919-1975) "Killed near Moscow" (1963) is written very emotionally, but realistically. Plot: a company of Kremlin cadets under the command of a slender, fit captain Ryumin was sent to defend Moscow. A company of soldiers and the defense of Moscow! The company died, and Captain Ryumin shot himself - he put a bullet in his heart, as if atoning for his sin for the death of inexperienced boys. They, the Kremlin cadets, are slender, one meter one hundred and eighty-three centimeters tall, everything is like a selection and are sure that the command values ​​them, because they are a special unit. But the cadets were abandoned by their command, and Captain Ryumin leads them into an obviously unequal battle. There was practically no battle, there was an unexpected and stunning attack by the Germans, from which it was impossible to escape anywhere - from behind they were controlled by the NKVD troops.

In his novel Hot Snow (1965-1969), Yu. Bondarev tried to develop the traditions of “lieutenant prose” at a new level, entering into a latent polemic with its characteristic “remarkism”. Moreover, by that time, the "lieutenant's prose" was going through a certain crisis, which was expressed in a certain monotony of artistic techniques, plot moves and situations, and in the repetition of the very system of images of works. The action of the novel by Yu. Bondarev fits into a day, during which the battery of Lieutenant Drozdovsky, which remained on the southern coast, repelled the attacks of one of the tank divisions of Manstein's group, which was rushing to help the army of Marshal Paulus, which fell near Stalingrad in a ring of encirclement. However, this particular episode of the war turns out to be that turning point from which the victorious offensive of the Soviet troops began, and for this reason the events of the novel unfold, as it were, on three levels: in the trenches of an artillery battery, at the headquarters of General Bessonov's army and, finally, at the headquarters of the Supreme Commander-in-Chief, where the general, before being assigned to the active army, has to endure a difficult psychological duel with Stalin himself. The battalion commander Drozdovsky and the commander of one of the artillery platoons, Lieutenant Kuznetsov, personally meet with General Bessonov three times.

Describing the war as a “test of humanity,” Yuri Bondarev only expressed what determined the face of the military story of the 1960s – 1970s: many battle prose writers focused on depicting the inner world of heroes and refracting the experience of war in them. , on the transfer of the very process of a person's moral choice. However, the writer's partiality towards his favorite characters was sometimes expressed in the romanticization of their images - a tradition established by A. Fadeev's novel "Young Guard" (1945). In this case, the character of the characters did not change, but only very clearly revealed in the exceptional circumstances in which the war placed them.

This tendency is most vividly expressed in the stories of B. Vasiliev "The Dawns Here Are Quiet" (1969) and "Not on the Lists" (1975). The peculiarity of the writer's military prose is that he always chooses episodes that are insignificant from the point of view of global historical events, but speaks a lot about the highest spirit of those who were not afraid to speak out against the superior forces of the enemy and won. Critics saw a lot of inaccuracies and even "impossibilities" in B. Vasiliev's story "The Dawns Here Are Quiet", the action of which develops in the forests and swamps of Karelia (for example, the White Sea-Baltic Canal, at which the sabotage group is aimed, has not operated since the fall of 1941 ). Ho the writer was interested here not in historical accuracy, but in the situation itself, when five fragile girls, led by foreman Fedot Baskov, entered into an unequal battle with sixteen thugs.

The image of Baskov, in essence, goes back to Lermontov's Maxim Maksimych - a man, perhaps poorly educated, but whole, wise in life and endowed with a noble and kind heart. Vaskov does not understand the intricacies of world politics or fascist ideology, but in his heart he feels the bestial essence of this war and its causes and cannot justify the death of five girls with any higher interests.

In the image of female anti-aircraft gunners, the typical fates of women of the pre-war and war years were embodied: different social status and educational level, different characters, interests. However, for all the accuracy of life, these images are noticeably romanticized: in the portrayal of the writer, each of the girls is beautiful in its own way, each is worthy of its own life story. And the fact that all the heroines perish underscores the inhumanity of this war, affecting the lives of even the most distant people from it. The fascists contrast with the romanticized images of girls. Their images are grotesque, deliberately lowered, and this expresses the main idea of ​​the writer about the nature of a person who has embarked on the path of murder. This thought with particular clarity illuminates the episode of the story in which Sonya Gurvich's dying cry sounds, which escaped because the knife was intended for a man, but fell into a woman's breast. With the image of Liza Brichkina, a line of possible love is introduced into the story. From the very beginning, Vaskov and Liza liked each other: she is to him - with a figure and sharpness, he is to her - with masculine solidity. Liza and Vaskov have a lot in common, however, the heroes did not succeed in singing together, as the foreman promised,: the war ruins the incipient feelings at the root. The finale of the story reveals the meaning of its title. The work closes with a letter, judging by the language, written by a young man who accidentally witnessed Vaskov's return to the place of the girls' death, along with his adopted son Rita Albert. Thus, the return of the hero to the place of his feat is shown through the eyes of a generation whose right to life was defended by people like Vaskov. Such symbolization of images, philosophical comprehension of situations of moral choice are very characteristic of a military story. Thus, prose writers continue the reflections of their predecessors on the "eternal" questions about the nature of good and evil, the degree of human responsibility for actions that seem to be dictated by necessity. Hence the desire of some writers to create situations that, in their universality, semantic capacity and categorical nature of moral and ethical conclusions, would approach a parable, only colored by the author's emotion and enriched with quite realistic details.

It is not without reason that the concept of "a philosophical story of war" was even born, associated primarily with the work of the Belarusian prose writer Vasil Bykov, with such stories as "Sotnikov" (1970), "Obelisk" (1972), "Sign of Trouble" (1984) ... V. Bykov's prose is often characterized by too straightforward opposition of a person's physical and moral health. However, the inferiority of the soul of some heroes is not immediately revealed, not in everyday life: a "moment of truth" is needed, a situation of categorical choice that immediately reveals the true essence of a person. The fisherman - the hero of V. Bykov's story "Sotnikov" - is full of vitality, knows no fear, and Rybak's comrade, sick, not distinguished by power, with "thin hands" Sotnikov gradually begins to seem to him only a burden. Indeed, largely through the fault of the latter, the sortie of the two partisans ended in failure. Sotnikov is a purely civilian man. Until 1939 he worked at school, his physical strength is replaced by stubbornness. It was stubbornness that prompted Sotnikov three times to try to get out of the encirclement in which his defeated battery ended up before the hero got to the partisans. Whereas Rybak from the age of 12 was engaged in hard peasant labor and therefore more easily endured physical exertion and hardship. It is also noteworthy that Rybak is more inclined to moral compromises. So, he is more tolerant of the elder Peter than Sotnikov, and does not dare to punish him for serving the Germans. Sotnikov, on the other hand, is not inclined to compromise at all, which, however, according to V. Bykov, testifies not to the limitations of the hero, but to his excellent understanding of the laws of war. Indeed, unlike Rybak, Sotnikov already knew what captivity was, and was able to withstand this test with honor, because he did not compromise with his conscience. The "moment of truth" for Sotnikov and Rybak was their arrest by the police, the scene of interrogation and execution. The fisherman, who has always previously found a way out of any situation, tries to outwit the enemy, not realizing that, having embarked on a similar path, he will inevitably come to betrayal, because he has already put his own salvation above the laws of honor and partnership. He yielded to the enemy step by step, refusing to first think about saving the woman who sheltered them with Sotnikov in the attic, then about saving Sotnikov himself, and then about his own soul. Finding himself in a desperate situation, Rybak, in the face of imminent death, chickened out, preferring the bestial life of human death.

A change in the approach to conflicts in military prose can also be traced in the analysis of the works of different years by the same writer. Already in the first stories V. Bykov tried to get rid of stereotypes when depicting war. Extremely tense situations are always in the writer's field of vision. Heroes are faced with the need to make their own decisions. So, for example, it was with Lieutenant Ivanovsky in the story "Until Dawn" (1972) - he risked himself and those who went on a mission with him and died. There was no warehouse with weapons for which this sortie was organized. In order to somehow justify the sacrifices already made, Ivanovsky hopes to blow up the headquarters, but he was not found either. In front of him, mortally wounded, there is a convoy, at which the lieutenant throws, having collected the remaining forces, a grenade. V. Bykov made the reader think about the meaning of the notion “feat”.

At one time, there were debates about whether it was possible to consider the teacher Frost in "Obelisk" (1972) as a hero, if he did not do anything heroic, did not kill a single fascist, but only shared the fate of the dead students. The characters in other stories by V. Bykov did not correspond to the standard ideas about heroism. Critics were embarrassed by the appearance of almost in each of them a traitor (Rybak in Sotnikov, 1970; Anton Golubin in To Go and Not Return, 1978, etc.), who until the fateful moment was an honest partisan, but gave up when he had to take risks for the preserving your own life. For V. Bykov, it was not important from which observation point the observation was carried out; it was important how the war was seen and depicted. He showed the versatility of actions taken in extreme situations. The reader was given the opportunity, without rushing to condemn, to understand those who were clearly wrong.

In the works of V. Bykov, the connection between the military past and the present is usually emphasized. In "Wolf Pack" (1975), a former soldier recalls the war, having arrived in the city to find the baby he had once saved and to make sure that such a high price was paid for his life (his father, mother died, and he, Levchuk, became disabled) ... The story ends with a premonition of their meeting.

Another veteran, Associate Professor Ageev, is digging up a quarry (Quarry, 1986), where he was once shot, but miraculously survived. The memory of the past haunts him, makes him rethink the past again and again, to be ashamed of thoughtless fears about those who, like Baranovskaya's assassin, bore the label of an enemy.

In the 1950-1970s. several major works appear, the purpose of which is an epic coverage of the events of the war years, an understanding of the fate of individuals and their families in the context of national fate. In 1959, the first novel "The Living and the Dead" of the trilogy of the same name by K. Simonov was published, the second novel "Soldiers are not Born" and the third "The Last Summer" were published, respectively, in 1964 and 1970-1971. In 1960, a draft of V. Grossman's novel Life and Fate, the second part of the dilogy For a Just Cause (1952), was completed, but a year later the manuscript was arrested by the KGB, so that a wide reader at home could get acquainted with the novel only in 1988 G.

In the first book of K. Simonov's trilogy "The Living and the Dead", the action takes place at the beginning of the war in Belarus and near Moscow in the midst of military events. War correspondent Sintsov, leaving the encirclement with a group of comrades, decides, leaving journalism, to join General Serpilin's regiment. The human story of these two heroes is in the focus of the author's attention, not disappearing behind the large-scale events of the war. The writer touched upon many topics and problems previously impossible in Soviet literature: he spoke about the country's unpreparedness for war, about the repressions that weakened the army, about the mania of suspicion, the inhuman attitude towards people. The writer's success was the figure of General Lvov, who embodied the image of a fanatic Bolshevik. Personal courage and faith in a happy future are combined in him with a desire to mercilessly eradicate everything that, in his opinion, interferes with this future. Lviv loves abstract people, but is ready to sacrifice people, throwing them into senseless attacks, seeing in a person only a means to achieve lofty goals. His suspicion spreads so far that he is ready to argue with Stalin himself, who freed several talented military men from the camps. If General Lvov is the ideologist of totalitarianism, then his practitioner, Colonel Baranov, is a careerist and a coward. Having uttered loud words about duty, honor, courage, writing denunciations against his colleagues, he, being surrounded, puts on a soldier's tunic and "forgets" all the documents. Telling the harsh truth about the beginning of the war, K. Simonov simultaneously shows the people's resistance to the enemy, depicting the feat of the Soviet people who rose to defend their homeland. These are episodic characters (artillerymen, who did not abandon their cannon, dragging it in their arms from Brest to Moscow; an old collective farmer who scolded the retreating army, but at the risk of his life saved a wounded man in his house; Captain Ivanov, who collected frightened soldiers from broken parts and leading them into battle), and the main characters are Serpilin and Sintsov.
General Serpilin, conceived by the author as an episodic person, not accidentally gradually became one of the main characters of the trilogy: his fate embodied the most complex and at the same time the most typical features of a Russian man of the 20th century. A participant in the First World War, he became a talented commander in the Civil War, taught at the academy and was arrested on Baranov's denunciation for telling his listeners about the strength of the German army, while all the propaganda insisted that in the event of war we would defeat a small blood, and we will fight on foreign territory. Released from a concentration camp at the beginning of the war, Serpilin, by his own admission, "forgot nothing and did not forgive anything," but realized that it was not the time to indulge in grievances - it was necessary to save the Motherland. Outwardly stern and laconic, demanding of himself and his subordinates, he tries to protect the soldiers, suppresses all attempts to achieve victory at any cost. In the third book of the novel, K. Simonov showed the ability of this man to great love. Another central character of the novel, Sintsov, was originally conceived by the author exclusively as a war correspondent for one of the central newspapers. This made it possible to throw the hero on the most important sectors of the front, creating a large-scale novel-chronicle. At the same time, there was a danger of depriving him of his individuality, making him only a mouthpiece of the author's ideas. The writer quickly realized this danger and already in the second book of the trilogy changed the genre of his work: the chronicle novel became a novel of destinies, which together recreate the scale of the people's battle with the enemy. And Sintsov became one of the active characters, who was injured, surrounded, and participated in the November 1941 parade (from where the troops were leaving directly to the front). The fate of a war correspondent was replaced by a soldier's lot: the hero went from a private to a senior officer.

Having finished the trilogy, K. Simonov strove to supplement it, to emphasize the ambiguity of his position. This is how "Different Days of War" (1970-1980) appeared, and after the death of the writer, "Letters about the War" (1990) was published.

Quite often the epic novel by K. Simonov is compared with the work of V. Grossman "Life and Fate". The war and the Battle of Stalingrad are just some of the components of V. Grossman's grandiose epic Life and Fate, although the main action of the work takes place precisely in 1943 and the fate of most of the heroes in one way or another turns out to be connected with the events taking place around the city on the Volga. The image of the German concentration camp in the novel is replaced by scenes in the dungeons of the Lubyanka, and the ruins of Stalingrad - by the laboratories of the institute evacuated to Kazan, where the physicist Strum fights over the riddles of the atomic nucleus. However, it is not “popular thought” or “family thought” that determines the face of the work - in this, V. Grossman's epic is inferior to the masterpieces of L. Tolstoy and M. Sholokhov. The writer is focused on something else: the concept of freedom becomes the subject of his reflections, as evidenced by the title of the novel. V. Grossman opposes life as the free realization of the personality even in the conditions of its absolute lack of freedom to fate as the power of fate or objective circumstances prevailing over a person. The writer is convinced that it is possible to arbitrarily dispose of the lives of thousands of people, in fact, remaining a slave like General Neudobnov or Commissar Getmanov. And you can die unconquered in the gas chamber of a concentration camp: this is how the military doctor Sophia Osipovna Levinton dies, until the last minute caring only about alleviating the torment of the boy David.

The latent thought of V. Grossman that the source of freedom or lack of freedom of the individual is in the personality itself, explains why the defenders of the Grekov house, doomed to death, turn out to be much freer than Krymov, who came to judge them. Krymov's consciousness is enslaved by ideology, he is in a sense a "man in a case", albeit not as blinkered as some of the other heroes of the novel. Even I. S. Turgenev in the image of Bazarov, and then F. M. Dostoevsky convincingly showed how the struggle between the “dead theory” and “living life” in the minds of such people often ends in the victory of theory: it is easier for them to admit the “wrong” of life than to be unfaithful. "The only correct" idea, designed to explain this life. And therefore, when in a German concentration camp Obersturmbannführer Liss convinces the old Bolshevik Mostovsky that there is much in common between them ("We are the form of a single entity - the party state"), Mostovsky can only respond to his enemy with tacit contempt. He almost with horror feels that suddenly “dirty doubts” appear in his mind, not without reason that V. Grossman called “the dynamite of freedom”. The writer still sympathizes with such "hostages of the idea" as Mostovsky or Krymov, but he is strongly rejected by those whose ruthlessness towards people stems not from loyalty to established beliefs, but from the absence of such. Commissar Getmanov, once the secretary of the regional committee in Ukraine, is a mediocre warrior, but a talented exposer of "deviators" and "enemies of the people", sensitively picking up any fluctuations in the party line. For the sake of receiving a reward, he is able to send tankers who did not sleep for three days on the offensive, and when the commander of the tank corps Novikov, in order to avoid unnecessary casualties, delayed the start of the offensive for eight minutes, Getmanov, kissing Novikov for a victorious decision, immediately wrote a denunciation of him to Headquarters.

3.Among the works about the war that have appeared in recent years, two novels attract attention: "Cursed and Killed" by V. Astafiev (1992-1994) and "The General and His Army" by G. Vladimov (1995).

Works that restore the truth about the war cannot be light - the theme itself does not allow, their goal is different - to awaken the memory of descendants. V. Astafiev's monumental novel "Cursed and Killed" resolves the military theme in an incomparably tougher key. In its first part, "The Devil's Pit," the writer tells the story of the formation of the 21st Infantry Regiment, in which, even before being sent to the front, killed by company commanders or shot for unauthorized absence are killed, physically and spiritually crippled by those who are called to breastfeed to defend the Motherland. The second part "Bridgehead", dedicated to the crossing of the Dnieper by our troops, is also full of blood, pain, descriptions of arbitrariness, bullying, theft, flourishing in the army. The writer cannot forgive the cynical soulless attitude towards human life neither to the occupiers, nor to home-grown fiends. This explains the wrathful pathos of the author's digressions and the descriptions beyond merciless frankness in this work, whose artistic method is not without reason defined by critics as "cruel realism."

The fact that G. Vladimov himself during the war was still a boy determined both the strengths and weaknesses of his sensational novel "The General and His Army" (1995). The experienced eye of a front-line soldier will discern many inaccuracies and overexposures in the novel, including those unforgivable even for a work of fiction. However, this novel is interesting in its attempt to look from a “Tolstoy's” distance at the events that once became crucial for the whole world history. It is not for nothing that the author does not hide the direct echoes of his novel with the epic War and Peace (for more details about the novel, see the chapter of the textbook, The Modern Literary Situation). The very fact of the appearance of such a work suggests that the military theme in literature has not exhausted itself and will never exhaust itself. The key to this is the living memory of the war among those who know about it only from the lips of its participants and from history textbooks. And no small merit in this belongs to the writers who, having gone through the war, considered it their duty to tell the whole truth about it, no matter how bitter it may be.

A warning to warrior-writers: “whoever lies about the past war brings the future war closer” (V.P. Astafiev). Understanding the trench truth is a matter of honor for any person. The war is terrible, and in the organism of the new generation there must be a stable gene for the impossibility of repeating such a thing. It was not in vain that V. Astafiev chose the dictum of the Siberian Old Believers as the epigraph of his main novel: “It was written that everyone who sows confusion, wars and fratricide on the earth will be cursed and killed by God.”

4. During the Great Patriotic War, it was forbidden to keep diaries at the front. After analyzing the creative activity of front-line writers, it can be noted that such writers as A.T. Tvardovsky, V.V. Vishnevsky, V.V. Ivanov gravitated towards diary prose; G.L. Zanadvorov kept a diary during the occupation. The specific features of the poetics of the writers' diary prose - a synthesis of lyrical and epic principles, aesthetic organization - are confirmed in many memoir-diary samples. Despite the fact that writers keep diaries for themselves, works require artistic skill from the creators: diaries are characterized by a special style of presentation, characterized by the capacity of thought, the aphoristic expression, the accuracy of the word. Such features allow the researcher to call the writer's diaries independent microproducts. The emotional impact in the diaries is achieved by the author through the selection of specific facts, author's commentary, subjective interpretation of events. The diary is based on the transfer and recreation of the real by the author's personal ideas, and the emotional background depends on his state of mind.

Along with the obligatory structural components of diary prose, specific artistic samples may contain specific mechanisms for expressing attitudes towards reality. The diary prose of writers of the period of the Great Patriotic War is characterized by the presence of such inserted subjects as prose poems, short stories, landscape sketches. Memoirs and diaries of the Great Patriotic War are confessional and sincere. Using the potential of wartime memoir-diary prose, the authors of memoirs and diaries were able to express the mood of the era, create a vivid idea of ​​life in war.

An important role in the study of the Great Patriotic War is played by the memoirs of military leaders, generals, officers, soldiers. They were written by direct participants in the war, and, therefore, are quite objective and contain important information about the course of the war, its operations, military losses, and so on.

Memoirs were left by I. Kh.Bagramyan, S. S. Biryuzov, P. A. Belov,
A. M. Vasilevsky, K. N, Galitsky, A. I. Eremenko, G. K. Zhukov,
I.S.Konev, N.G. Kuznetsov, A.I. Pokryshkin, K.K. beyond Transcarpathia "," Stalingrad Epic "," Liberation of Belarus "and so on. The leaders of the partisan movement also left memoir samples: G. Ya. Bazim,
P.P. Vershigor, P.K. Ignatov and others.

Many books of memoirs of military commanders have special appendices, diagrams, maps that not only explain what was written, but are themselves an important source, as they contain the features of military operations, lists of command personnel and methods of conducting battles, as well as the number of troops and some other information ...

Most often, the events in such memoirs are arranged in chronological order.

Many military leaders based their diaries not only on personal memories, but also actively used elements of a research nature (referring to archives, facts, and other sources). So, for example, AM Vasilevsky in his memoir "The Work of Life" indicates that the book is based on factual material, well known to him and confirmed by archival documents, a significant part of which has not yet been published.

Such memoir works become more reliable and objective, which, of course, increases their value for a researcher, since in this case there is no need to check every stated fact.

Another feature of the memoir literature written by the military people (as well as other memoirs of the Soviet period) is the strict control of the censorship over the facts described. The presentation of military events required a special approach, since the official version and the stated version should not have had discrepancies. The memoirs about the war were supposed to indicate the leading role of the party in the victory over the enemy, facts "shameful" for the front, miscalculations and mistakes of the command and, naturally, especially secret information. This must be taken into account when analyzing a particular work.

Marshal of the Soviet Union G.K. Zhukov left a rather significant memoir "Memories and Reflections", which tells not only about the Great Patriotic War, but also about the years of his youth, the Civil War, military clashes with Japan. This information is extremely important as a historical source, although it is often used by researchers only as illustrative material. Memoirs of the four times Hero of the Soviet Union GK Zhukov "Memories and Reflections" were first released in 1969, 24 years after the victory in the Great Patriotic War. Since then, the book has been very popular not only among ordinary readers, but also among historians, as a source of rather important information.

In Russia, the memoirs were reprinted 13 times. The 2002 edition (used to write the work) was timed to coincide with the 60th anniversary of the Battle of Moscow and the 105th anniversary of the birth of G.K. Zhukov. The book has also been published in thirty foreign countries, in 18 languages, with a circulation of over seven million copies. Moreover, the cover of the edition of the memoirs in Germany says: "One of the greatest documents of our era."

Marshal worked on Memories and Reflections for about ten years. During this period, he was in disgrace and was ill, which affected the speed of writing memoirs. In addition, the book was heavily censored.

For the second edition, G.K. Zhukov revised some chapters, corrected errors and wrote three new chapters, as well as introduced new documents, descriptions and data, which increased the volume of the book. The two-volume edition came out after his death.

When comparing the text of the first edition (published in 1979) and subsequent ones (published after death), the distortion and absence of some places are striking. In 1990, a revised edition was published for the first time, based on the manuscript of Marshal himself. It was significantly different from others in the presence of sharp criticism of government agencies, the army and the policy of the state in general. The 2002 edition consists of two volumes. The first volume includes 13 chapters, the second - 10.

Questions and tasks for self-control

1. Determine the periodization of the theme of the Great Patriotic War in the history of the development of Russian literature, backing up your opinion by analyzing the works of fiction by 3-4 authors.

2. What do you think, why in the period 1941-1945. the writers did not cover the horrors of war? What pathos prevails in the works of art of this period?

3. In the school course of literature about the Great Patriotic War, it is proposed to study "The Son of the Regiment" (1944) by V. Kataev about the serene adventures of Vanya Solntsev. Do you agree with this choice? Identify the author of the school literature curriculum.

4. Determine the dynamics of the image of the Russian character in different periods of the development of the topic in literature. Have the dominants of behavior and the main characters of the hero changed?

5. Offer a list of fiction texts about the Great Patriotic War, which can become the basis of an elective course for 11th grade students of a comprehensive school.

Lecture 6

Literature of the 60s of the XX century.

TOPICS OF ABSTRACTS FOR BOB

Domestic and foreign policy factors that contributed to the Nazis coming to power in Germany

National Socialist ideology in Germany, its essence (political, economic and ideological aspects. How did it attract a significant part of the Germans? Why the Nazis were supported by big business? What is the role of international capital in strengthening the economic and military might of Germany?)

Economic, military potential of Germany and the USSR by 1939: a comparative analysis.

The economic and military potential of Germany and the USSR by June 1941: a comparative analysis.

Military strategy of Germany: its essence and results (on the example of military operations in European countries in 1939-1941)

Military doctrine of the USSR in the pre-war years: its essence and practical implementation.

Comparative technical characteristics of armored vehicles of Germany and the USSR in 1991-1945.

Comparative technical characteristics of the aviation of Germany and the USSR in 1941-1945.

The "blitzkrieg" strategy, its essence and practical implementation (on the example of the fighting of German troops in the European theater of war and in the war against the USSR)

War of two ideologies. What attracted the ideas of Nazism to a significant part of the population of Germany and what are the origins of patriotism of the Soviet people, including young people.

What are the reasons for the failures of the Red Army in the initial period of the war?

Assessment of the possible military potential of the Wehrmacht in heavy weapons (guns, mortars, armored vehicles, etc.), tanks, aircraft by the summer of 1941, based on the industrial potential of Germany and the countries it conquered.

Participation in hostilities on the Soviet front of Romanian, Italian and Finnish units, armed formations consisting of representatives of other nationalities (number of troops, quantity and quality of weapons, participation in military operations, etc.)

I.V. Stalin: a portrait against the background of the era

Assessment of the military potential of the USSR by the beginning of the war in heavy weapons, tanks, aircraft.

Confrontation between Army Group Center and the Western Military District: balance of forces, firepower of troops, tactics of the parties.

The reasons for the defeat of the Red Army in the central sector of the front in the summer of 1941: objective and subjective factors.

"Lilia Molotova", its construction, engineering component, technical and fire support

- "Stalin's Line" - the history of creation, engineering scheme, the state before the beginning of the war

War through the eyes of eyewitnesses, my interlocutors

War in the fate of my family

War through the eyes of children

Actual problems of war in foreign and domestic sources (comparative analysis)

The origins of patriotism of Soviet soldiers, partisans, underground workers, home front workers.

Evacuation of Belarusian enterprises, agricultural machinery to the east in 1941, labor of evacuated Belarusians

Interethnic conflicts in the vastness of the former Soviet Union at the end of the 20th and beginning of the 21st centuries. and during the Great Patriotic War. What are the origins of Hitler's miscalculation, who staked on the collapse of the USSR from within on interethnic grounds?

Manifestations of the policy of genocide of the occupiers in my small homeland.

Belarusian Church during the Nazi occupation (according to Soviet and modern sources)

Union of Belarusian youth during the years of occupation: history of creation, structure, nature of activity

The policy of the occupiers in the field of culture, health care, education

Youth policy of the occupiers

Punitive operations against partisans as part of a genocidal policy

Compatriots - Heroes of the Soviet Union

The streets of my village, city are named after them.

My fellow countrymen are holders of military orders (Kutuzov, Suvorov, Nakhimov, etc.)

The most significant sabotage and other operations carried out by partisans, underground fighters in my small homeland during the years of occupation

Activities in the partisan and underground movement in Belarus of patriotic internationalists

The military glory of our grandfathers and grandmothers (based on materials from school and district museums of military glory, family archives)

My fellow countrymen on the fronts of the Great Patriotic War

My fellow countrymen (fellow countryman) - generals

Defense of Minsk in 1941

Defense of Mogilev in 1941

Defense of Borisov in 1941

Defense of Gomel in 1941

Senno counterattack in 1941

Counterattack near Bialystok in 1941

Possible dates of the beginning of the Great Patriotic War (according to Soviet and foreign sources)

Battle for the Dnieper - the beginning of the liberation of Belarus

Gomel-Rechitsa offensive operation in 1943

Kalinkovichi-Mozyr offensive operation of 1943

Gorodok offensive operation in 1943

Interaction between partisans and the Red Army during Operation Bagration

Participation of Belarusian partisans in operation "Bagration"

Students and teachers of BNTU (BPI) - participants of the Great Patriotic War

Students and teachers of BNTU (BPI) partisans and underground fighters

Participation of Belarusians (my fellow countrymen) in the Moscow battle

Participation of Belarusians (my fellow countrymen) in the Battle of Stalingrad

Participation of Belarusians (my fellow countrymen) in the Battle of Kursk

Participation of Belarusians (my fellow countrymen) in the liberation of Europe

Participation of Belarusians (my fellow countrymen) in the battle for Bellin

Strategy and tactics of the offensive operation in Manchuria

Participation of Belarusians (my fellow countrymen) in the Manchurian offensive operation

Soviet-Finnish war of 1939-1940, strategy and tactics, participation of Belarusians in it

1940 Norwegian Campaign

Resistance movement in Europe in 1940-1941

Diplomatic confrontation in Europe in 1939-1941

War in the air "Battle of England" 1940

Military operations of the Wehrmacht in North Africa in 1940-1943.

Balkan Campaign 1941 Capture of Crete

People's militia in Belarus, fighter battalions in 1941

Belarusian ostarbeiters during the war

Collaboration problem on the territory of Belarus

Situation and life of the population in the occupied territory

Features of military tactics of partisans during the war

Material and combat support for the partisans, assistance from the "Big Land"

Partisan zones in enemy-occupied territory of Belarus

- "Vitebsk Gate" as a phenomenon of the period of the occupation of Belarus

Rail war of partisans of Belarus

The underground of my city (regional center, district) during the war

The Polish underground and the Home Army in Belarus

Summer Campaign 1942 Causes of the Red Army's Failures

The lend-lease problem. Allied supplies to the USSR and their significance

Struggle on the northern sea lanes of the USSR. Northern convoys

Belarusians in the European Resistance Movement

- "Bobruisk cauldron" as part of the operation "Bagration"

Liberation of Minsk during Operation Bagration

Victory Price: Estimating the Scale of the Loss