Research project: the image of the grandmother in Russian literature. The image of a Russian grandmother and childhood associations

1. V.P. Astafiev in his collection " Last bow"uses almost all literary techniques when creating the image of a grandmother. What is least used in his works is the method of self-characterization of the heroes.

2. The writer endowed his heroine with the best qualities of the people’s character: hard work, tolerance, kindness, wisdom.

3. The heroines of fairy tales are close to the image created by V.P. Astafiev. They are kind, wise, caring, affectionate.

4. Grandmothers played a big role in shaping the personality of Russian writers and poets.

5. About 50% of children see their grandmothers on weekends, 20% - on vacation, because their grandmothers live far from them. 30% see their grandmother every day.

6. You can do a variety of things with your grandmother: drink tea, walk, talk, play, visit, read, go shopping.

7. My classmates believe that grandmothers should be wise, beautiful, kind, and affectionate.

8. To the question “ What works have you read that talk about grandmothers?"80% of students answered that it was V. Astafiev" Horse with a pink mane". 50% remembered the fairy tale by K. Paustovsky “ Warm bread" and the same number of students named the fairy tale by H. C. Andersen " The Snow Queen" 40% - fairy tale by C. Perrault " Little Red Riding Hood" Almost all students named the Russian folk tale " turnip».

9. Answering the question “ In the lives of which famous writers and poets did their grandmothers play a huge role? Name writers and grandmothers", all the students in our class remembered nanny A.S. Pushkin, however, only 60% remember that her name was Arina Rodionovna. 70% named their grandmother M.Yu. Lermontov, but only 10% were able to say her name. 50% named V.P. Astafiev, who wrote autobiographical stories about his grandmother, but could not remember her name.

conclusions

1. The topic of the research work is of interest in society.

2. The hypothesis has been confirmed: the role of grandmothers in society is great, which means that works of art in which the grandmother is the protagonist have a positive effect on the upbringing of children.

3. The ways to create the image of a grandmother are varied.

4. The stories of the great Russian writer V, P, Astafiev will always be modern, because they present us with “ lessons of kindness»

5. Sixth-graders know famous writers and poets, in whose development grandmothers played a large role, read and know works about grandmothers, really evaluate their actions and, together with the characters, draw important conclusions for themselves.

Conclusion

Viktor Petrovich Astafiev saw his grandmother as he wanted to present her to his readers. This is exactly how we see and love her when reading the story “The Last Bow”. She managed to raise a wonderful person for Russia, a famous writer, to instill in him a feeling of gratitude and love for the Motherland, for all living things, and a reverent attitude towards people and their problems.

Each of us has grandmothers. We must take care of our grandmothers, because they are a piece of our soul, our present and past. Grandmothers are a feeling of a happy childhood! Grandma's love gives you self-confidence for life!

In conclusion, I would like to say that I also have a wonderful grandmother. I love her very much, I believe that she helps me navigate the vast world of literature and gives me valuable life lessons.

Literature

1. Astafiev V.P. Last bow. Astrel. M., 2003

2. Savkina I. Will we never have these grandmothers again? Literary today. Magazine " Literature questions", No. 2. 2011.

3. Timofeev L.I. A brief dictionary of literary terms. " Education" M., 1986.

4. Tsyavlovsky M.A. Chronicle of the life and work of A.S. Pushkin " Education" L., 1991.

THE IMAGE OF GRANDMOTHER IN RUSSIAN LITERATURE Stefanova L. M., teacher of Russian language and literature of the Educational Institution “RDB” of the State Educational Institution “RCO”, Syktyvkar A. S. Pushkin and his grandmother Maria Alekseevna Hannibal and nanny Arina Rodionovna Yakovleva Maria Alekseevna Hannibal “She, without a doubt, was the first teacher of the future poet...” A. A. Delvig A. S. Pushkin mentions his grandmother in “The Beginning of Biography”, her image is reflected in the poems “Dream”, “My Genealogy” . Arina Rodionovna Yakovleva “From adolescence to the grave, this brilliant, renowned poet was not ashamed to publicly, in wonderful verses, profess his tender affection not for his mother, but for his nanny... So this is the first inspirer, the first muse of the great artist!” I. S. Aksakov Arina Rodionovna became the prototype of Tatyana Larina's nanny - Filipyevna (the novel in verse "Eugene Onegin"), Orina Egorovna - the nanny of Vladimir Dubrovsky (the story "Dubrovsky"), the nanny in the tragedy "Boris Godunov". A. S. Pushkin dedicated a poem to Arina Rodionovna “Nanny”, we meet her image in the poems “Dream”, “Winter Evening” and others. M. Yu. Lermontov and his grandmother Elizaveta Alekseevna Arsenyeva Elizaveta Alekseevna Arsenyeva “Old lady Arsenyeva idolized her grandson , he remained as a consolation and support for her in her old age; she lived for him alone and to fulfill his whims; He couldn’t praise him enough, he couldn’t stop looking at him...” E. A. Sushkova Name the works for which these illustrations were made and the authors of these works. In the story, Gorky pays great attention to his grandmother Akulina Ivanovna Kashirina. It is no coincidence that at first the writer wanted to call his story “Grandma”. “Before her, it was as if I was sleeping, hidden in the darkness, but she appeared, woke me up, brought me into the light, tied everything around me into a continuous thread, wove it into multi-colored lace and immediately became for the rest of my life the closest, dearest person to my heart.” M. Gorky Maxim Gorky “Childhood” V. P. Astafiev “Last Bow” The image of grandmother Katerina Petrovna Potolitsyna runs through the entire book. First of all, the writer bows gratefully to her. “Grandmother was my father and mother - everything that is dear to me in the world! I don’t have words that could convey all my love for my grandmother...” V. P. Astafiev What role did grandmothers play in the lives of their grandchildren? Draw conclusions by completing the statements: Childhood is an important time for every person. This is the time of formation... Maria Alekseevna Hannibal, Arina Rodionovna Yakovleva, Elizaveta Alekseevna Arsenyeva, Akulina Ivanovna Kashirina, Katerina Petrovna Potolitsyna are wonderful grandmothers who... In their memoirs and works by A. S. Pushkin, M. Yu. Lermontov, M. Gorky, V. P. Astafiev... Poets and writers remember their grandmothers with gratitude. And, perhaps, if it were not for wonderful grandmothers, there would not have been such geniuses in Russian literature as A. S. Pushkin, M. Yu. Lermontov, M. Gorky, V. P. Astafiev. Images used: http://img692.imageshack.us/img692/8979/memyary.gif - pen, inkwell (slide 1) http://im6 - tub - ru.yandex.net/i?id=296777999 - 44 - 72&n=21 – A. S. Pushkin in childhood (slide 2) http://www.odin - fakt.ru/upload/KUL/20090522_Bednyi_Sashka/SCN01351_300.jpg - monument to Pushkin’s grandmother (slides 2, 3) http:// www.pk08.ru/images/4f3b64e2a32da.jpg - Arina Rodionovna (slides 2, 4) http://900igr.net/datai/literatura/Urok - po - Lermontovu/0004 - 003 - M.JU. - Lermontov - rebjonkom.jpg - M. Yu. Lermontov in childhood (slide 5) http://900igr.net/datai/literatura/Lermontov - Mtsyri/0008 - 011 - V - poeme - govoritsja - o - vzaimootnoshenijakh - monakhov - i - malchika.jpg - E. A. Arsenyeva (slides 5, 6) http://900igr.net/datai/literatura/Povest - Detstvo/0007 - 006 - Dni - nezdorovja.jpg - illustration for the story “Childhood” ( slide 7) http://900igr.net/datai/literatura/Povest - Detstvo/0004 - 003 - Kakoj - vidit - Aljosha - babushku.jpg - illustration for the story “Childhood” (slide 8) http://www.permvelikaya .ru/wp - content/uploads/2009/05/588.jpg - portrait of A. S. Pushkin (slide 11) http://rusportrait.ru/gal2/s6 - 19.jpg - portrait of M. Yu. Lermontov ( slide 11) http://im6 - tub - ru.yandex.net/i?id=494596110 - 18 - 72&n=21 – portrait of M. Gorky (slide 11) http://server.audiopedia.su:8888/staroeradio /images/pics/001529s.jpg - V. P. Astafiev (slide 11)

Kharitonov Nikolai Nikolaevich

Project Manager:

Lvova Natalya Anatolevna

Institution:

MBOU "Secondary school No. 8" Vyksa

In progress research work on literature "The image of the grandmother in the stories of V.P. Astafiev as the personification of the qualities of the people's character" A 6th grade student set a goal to study and describe ways of creating the image of a grandmother in the stories of V.P. Astafieva.

In a research work on literature “The image of a grandmother in the stories of V.P. Astafiev as the personification of the qualities of a people’s character,” the author examines the definition of the word “grandmother” and the role of grandmothers in the education of famous writers.

In the proposed literature project “The image of the grandmother in the stories of V.P. Astafiev as the personification of the qualities of the people’s character,” the author proposed a list of ways to create the image of the grandmother in works of art, as well as the results of the analysis of the image of the grandmother in the fairy tales and stories of V.P. Astafieva.

Introduction
1. The concept of the word “ ».
2. The role of grandmothers in the education of famous writers.
3. Ways to create the image of a grandmother in works of art.
4. Book by V.P. Astafieva " Last bow».
5. Research materials.
5.1 The image of a grandmother in the works of V.P. Astafieva.
5.2 The image of a grandmother in fairy tales.
5.3 Questionnaire.
6. Research results
conclusions
Conclusion
Literature

Introduction

Grandmother! Grandmother!
I'm trying to resurrect the guilty one before you
remember you, tell people about you.
V.P. Astafiev

There is a bright face in our soul that always attracts, is always infinitely dear. For V.P. Astafiev, this light was his grandmother. He considers her his main educator. The image of Ekaterina Petrovna runs through the entire book “ Last bow”, is its core.

Everything in this image is touching: rare hard work, a gentle disposition, boundless kindness, high justice, tears of tenderness and hope for reward in the next world for earthly torment. And most importantly - ineradicable active love for the orphan - grandson. Viktor Petrovich creates the image of a grandmother, who is the personification of the best qualities of the Russian folk character.

Today it is somehow not customary to make grandmothers heroes of literary works. We are increasingly seeing in modern literature various mythological images that are not capable of awakening good feelings in children. It is important to understand why the image of the grandmother created in the works of V.P. Astafiev, will forever remain the example that is capable of presenting to each of us " lessons of kindness».

Therefore, my research is quite relevant today.

Goal of the work: study and describe ways of creating the image of a grandmother in the stories of V. P. Astafiev

Tasks:

Describe ways to create the image of a character in a work of fiction.
Re-read the stories of V.P. Astafiev “Zorka’s Song”, “Monk in New Pants”, “Trees Grow for Everyone”, “Horse with a Pink Mane”.
Analyze the image of the grandmother in the stories.
Analyze the creation of the image of the grandmother in Russian folk tales.
To prove that the image of grandmothers contains the best qualities of the people's character.
To study the role of grandmothers in shaping the personality of poets and writers.
Conduct a survey among students on the topic.

Subject of study: methods of creating a character image used by V.P. Astafiev.

Object of study: the image of grandmother Katerina Petrovna in the stories of V.P. Astafiev.

Hypothesis : the role of grandmothers in the development of many Russian poets and writers is very great, which means that works where the character is a grandmother have a positive effect on the upbringing of children.

Research methods :

working with primary sources;
comparison and analysis;
descriptive method;
study;
survey.

The relevance of research : the appeal to the work of V.P. Astafiev is due to the extraordinary personality of the writer himself, as well as the recent increased interest in his works, which teach us wisdom, mutual understanding and forgiveness.

Purpose of work - a manual for teachers and students,

Novelty of the work: systematization of material about the role of grandmothers in the lives of great writers

Practical significance: The work can serve as a guide for students and teachers of literature, MHC, during extracurricular activities, and can also be used by the school library.

1. The concept of “grandmother”

« old woman" or " father's or mother's mother in relation to their child"1. It turns out that in different countries the word " ” is not only pronounced differently, but also takes a different social position in relation to grandchildren.

For example, American grandmothers do not live under the same roof with their grandchildren; they have their own lives. They come to visit and give gifts.

In France, no one considers grandmothers to be grandmothers; they are very active, like to dress smartly, organize meetings and evenings with friends. In Spain, grandmothers do not babysit their children at all. Never! A woman devotes all her free time to herself.

Therefore, it is mainly private nannies who work with little Spaniards. And only in Russia is it difficult to imagine a family without a grandmother. The Russian grandmother takes an active part in the lives of her children and grandchildren.

Yes, the word " " exists in all languages, but only in Russian it is filled with a special meaning. After all, grandmothers are a feeling of a happy childhood!

2. The role of grandmother in raising famous writers

Grandmother is an important person in everyone's life. This becomes especially relevant when the grandmother has to replace the parents in the child’s life. Let us remember Elizaveta Alekseevna Arsenyeva, the grandmother of Mikhail Yuryevich Lermontov. Elizaveta Stolypina was born into a rich and famous noble family. She was the eldest daughter of Alexei Emelyanovich Stolypin, an economical and wealthy man. But fate destined her for the traditional female role of mother and wife.

Having lost her daughter early, she began to take care of her little grandson, Misha, the future poet Mikhail Lermontov. Elizaveta Alekseevna was very worried about her grandson. She took him to the Caucasus more than once and hired the best teachers. In his adult life, taking advantage of her influential position, she tried to save him from punishment. Having learned about the death of Mikhail in 1841, the woman finally weakened in health, ceased to see the meaning and purpose of her future life, and died in 1845.

Another famous writer Maxim Gorky (Alyosha Peshkov) in his biographical story talks about his grandmother Akulina Ivanovna Kashirina. She was the only person who illuminated the writer’s difficult life path. Gorky absorbed all the poetry and national character, which became the basis of his autobiographical trilogy.

In the life of Alexander Sergeevich Pushkin there were two grandmothers who raised him. Maternal grandmother - Maria Alekseevna Hannibal. She surrounded her beloved grandson with maternal attention and was his first mentor in mastering the Russian language. Young Pushkin listened to her stories about the blackamoor of Peter the Great.

For A.S. She was the closest person to Pushkin. From her, the future great poet heard family legends, which were later reflected in his work: the unfinished novel “ Arab of Peter the Great», « Plans for a story about Sagittarius", in the poem " Yezersky", V " My ancestry».

Another grandmother - Yakovleva Arina Rodionovna - nanny A.S. Pushkin. It was from her that the poet first heard about the hut on chicken legs, and the fairy tale about the dead princess and the seven heroes, and it was to her that he dedicated his poems. Another example is V.P. Astafiev, his grandmother was also involved in his upbringing.

How often teenagers underestimate their grandmothers and believe that their views are outdated and do not correspond to the modern rhythm of life. In the 21st century, grandmother is no longer an example for young people. Modern young people have completely different authorities, different heroes, often negative ones.

And therefore my research is quite relevant today. I set myself the following goal: to study and describe ways of creating the image of a grandmother in stories from the collection “The Last Bow” by V.P. Astafieva.

P. Sanaev began writing his now famous book “Bury Me Behind the Baseboard” while still at school, basing it on some episodes of his childhood and memories of life with his grandparents. But this book is not a document or a memoir, but a real work of art, its heroes are full-fledged artistic images, literary types. That is why the story “Bury me behind the baseboard” so quickly ceased to be just a book, and was successfully realized in various media environments (film directed by S. Snezhkin, theatrical production directed by I. Konyaev, as well as a number of provincial productions). And each of these implementations caused, in turn, a flurry of reviews and reviews, laudatory and indignant, but always very emotional. Getting acquainted with a lot of similar articles (mainly on the Internet), we noticed that most of the authors reflect on the figure of the grandmother, her fate, her behavior, and influence on the boy Sasha. That is why we first of all focused our attention on the complex, contradictory image of grandmother Nina Antonovna.

Recently, there has been an increased interest of modern readers and viewers in the work of the talented writer and director Pavel Sanaev; at the same time, there are no serious literary works devoted to his work yet. At the same time, in the story “Bury Me Behind the Baseboard,” Sanaev poses eternal problems, in demand at all times, - the problem of love, forgiveness, loneliness, human relationships, that is, eternal human values.

To conduct a holistic analysis of the image of the grandmother, it was important for us to make typological connections with the characters of Russian literature of the 18th - 20th centuries. Classics, depicting the world of family in their works, often turn to this image. Most often, the grandmother appears next to those heroes who are deprived of maternal affection and care. In such cases, the grandmother is called upon to replace the hero’s mother, to become the key to his spiritual development (for example, grandmother Berezhkova in I. Goncharov’s novel “The Precipice”, grandmother Akulina Ivanovna in M. Gorky’s story “Childhood”, grandmother Katerina Petrovna in V. Astafiev’s book “The Last bow"). But, naturally, this does not always happen - some authors deny the grandmother the role of a second mother (Countess-grandmother Khryumina in A. Griboedov’s comedy “Woe from Wit”). The image of grandmother Nina Antonovna in S. Sanaev’s story is dual: outwardly, she really is raising her grandson Sasha, replacing his mother, but in fact, the boy’s life in her house is like a nightmare.

Carrying out a holistic analysis of the image of Nina Antonovna’s grandmother, we examined several key techniques and artistic means that the author used to create it. Thus, we identified the following techniques: portrait of the heroine; the objective world surrounding her; grandmother’s behavior and actions, her speech, facial expressions and pantomime; relationships with your loved ones (influence on them), as well as attitude towards love. We found that to create one of his central characters, P. Sanaev used the same techniques that were developed in Russian literature of the 18th - 19th centuries to characterize negative characters.

We have identified another typological series of characters in Russian literature, to which the image of the grandmother is close. This series is represented by the images of the landowner Prostakova and the merchant Kabanova, female heroines, sovereign mistresses in their homes, who, while outwardly leading a decent lifestyle, tyrannize their loved ones.

Despite the author’s desire to “justify the grandmother,” the desired outcome was not fully realized. We came to the conclusion that the image of the grandmother in P. Sanaev’s story is complex and dual. This duality is ensured by the combination of light and dark elements in the composition of the work and in the appearance of the grandmother herself.

So, the portrait of grandmother Nina Antonovna is given very sparingly in the story. All that is known about Sasha’s grandmother is that she has a menacing, loud, commanding voice: “... she screamed like a siren, raising her voice on every vowel,” sick, rotten teeth: “... Grandmother showed grandfather her teeth, sticking out in different directions like sparse, half-rotten stumps ”, that her rare caresses disgust Sasha: “... it was even more unpleasant when my grandmother, expressing her love, turned me around with her back and put her cold, wet lips with tickling hairs on my neck. From my grandmother’s kisses everything inside me shuddered, and, barely restraining myself from breaking out, I waited with all my might for the wet cold to stop creeping up my neck.”

The grandmother is presented in the story as a two-faced, insincere person. At the same time, the grandmother is well aware of duplicity, she understands it as the only possible norm of life, turns it into a kind of philosophy, and even tries to teach Sasha this behavior: “My grandmother often explained to me what and when to say. She taught that the word is silver, and silence is gold, that there is a holy lie and sometimes it is better to lie, that you must always be kind, even if you don’t want to...”

Grandmother always tries to maintain a kind tone and politeness in public, in front of strangers. Therefore, she speaks politely to the doctor Galina Sergeevna, to the nurse Tonya, to her friend Vera Petrovna. But behind closed doors and with the telephone on the receiver, the grandmother does not hesitate in her expressions addressed to all her acquaintances. She also communicates with relatives. She constantly scolds her daughter, “You’re not even a whore, you’re not a woman at all. Let your organs be thrown away to dogs because you dared to give birth to a child”; with her husband, “Damn Gizel, hated Tatar!<…>Damn you by the sky, God, earth, birds, fish, people, seas, air! with grandson, "<…>Stinking, stinking, damning, hateful bastard!<…>May you rot alive in the hospital! May your liver, brain, and heart dry up! That you were eaten by Staphylococcus aureus"; with her husband’s friend, Lesha: “... Now I’ll send this Lesha so hard that he’ll forget the way...”, and often without any address: “... a short “pity-pizdyts”, used as a response to any request that should have been refused”; “... They set a threshold, bastards, so that they could stumble all their lives!..”

Grandmother Nina Antonovna is closely connected with everyday life, surrounded by a huge number of things that are grouped into three large semantic nests: food, material values (things) and money. Thus, the grandmother takes the cooking process seriously, feeds Sasha, takes care of the housework, and becomes terribly worried about money: “All the money that grandfather brought, grandmother stuffed into one secret hiding place she knew and often later forgot how much and where she put it.<…>. Sometimes caches disappeared. Then the grandmother said that there were thieves in the house. Besides her mother, she suspected all the doctors of theft, including Galina Sergeevna, all her occasional acquaintances, and most of all, the mechanic from the boiler room, Rudik...”

The grandmother's world is full of things, objects. The kitchen in her apartment resembles a room in the house of Gogol's hero Plyushkin. It is noteworthy that in the grandmother’s apartment there are many books, but practically no one reads them, they only hide money in them: “There were some objects piled up everywhere, the purpose of which no one knew, boxes that no one knew who had brought, and packages in which it was unknown what was lying. The kitchen table was completely covered with medicines and some jars<…>On the cabinets there were apples, bananas or persimmons laid out in a row to ripen, depending on the season.” And further: “There were some bonds in the books, so my grandmother forbade me to touch them, and if I asked to read, she first shook the book, checking to see if there was anything lying around.”

Many scenes in which the grandmother participates are complemented by very expressive facial expressions, gestures, intonations, and poses. Sasha's grandmother very rarely speaks quietly and calmly, moves slowly and smoothly, most often her movements are sharp and impetuous, the phrases she utters are rude and insulting. Yes and no, the grandmother says, but mostly screams. Let's give a few examples: “Mom opened the door and rushed down the stairs with a loud cry. The grandmother opened the balcony, grabbed the pan standing under the table and shouted: “Here, Olenka, you asked for food!” poured its contents down"; “- I’ll scrub you out now! - Grandma shouted and waved the razor under my nose<…>- A-ah! - the grandmother suddenly sobbed and, dropping the scissors, grabbed her face with her hands<…>and, continuing to scream, began to scratch her face with her hands...”; “...grandmother, shaking the heavy wooden fox terrier from grandfather’s sideboard, runs after mother around the table and screams...” and so on.

The grandmother has a strange influence on her loved ones - on her husband: “I don’t have the strength to lay hands on myself, so I started smoking again<…>I can’t take it anymore, I’m suffocating! I’m holding out this life like I’m waiting out the rain. I can not! Don't want!.."; to her daughter: “And I’m afraid of her! I only now realized how afraid I am!”

The influence on the grandson is the strongest. She plays on his feelings, turns him against his mother, blackmails him: “You don’t want us to fight again? If she starts lying again, that I’m not giving you up, that I took you away, stand up and say firmly: “This is not true!” Be a man, don't be a weak-willed rag. Say: “I myself want to live with a woman, I’m better off with her than with you!” Don't you dare betray me! Don't you dare anger God! If you say it right, you won’t be a traitor?..”

Grandma’s very special attitude towards love. On the one hand, grandmother constantly talks about love and talks about it in a meaning familiar to everyone. For example, she burst into tears with emotion when Sasha managed to express the meaning of an adult film in a short phrase. One day she will talk about her love for her grandfather, and her grandmother speaks a lot and often about her love for her grandson.

However, at times the mention of love is accompanied by a comment that is rude, overly physiological, sometimes even paradoxical in relation to the very concept of “love”: “I would rather eat the earth itself than give you something that is not fresh”; "I him<…>I buy it, then I don’t have the strength to change the water, I wash myself in the same water. The water is dirty, he can’t be bathed more than once every two weeks, but I don’t disdain. I know that after it there is water, so it’s like a stream for my soul. I wish I could drink this water!” Speaking about love, the grandmother herself compares this feeling with some kind of painful state, literally borderline between life and death: “... it would be better for me to die as a child than to live my whole life without love. All my life I gave myself to others, hoping to deserve it! She loved like crazy..."; “I love him to the point of fainting! He’ll say “baby”, and something inside me will break into a hot, joyful tear”; “He is my last love, I am suffocating without him. I’m ugly in this love...”; “This kind of love of punishment is worse, there is only pain from it, but what to do if it is like that! I would howl from this love, but without it why should I live..."

But more often than not, her actions contradict what she says. So, she ate ice cream in front of the child, threw her mother’s gift - a funny game “Fleas” - into the garbage chute, and greatly frightened her grandson with a hysterical act.

Even one of her curses will also be associated with love - with a feeling that should revive and elevate: “So that you get all the love that is in the world, and so that you lose it, as they took it away from me!”

We have the right to ask ourselves: is there anything bright about grandma? Let us turn to the episode of the grandmother’s memoirs about her youth, where she talks about her son Alyoshenka, who died during the war, about her “imprisonment” in a psychiatric clinic, about the difficult, half-starved childhood of her daughter Olya. At this moment, it’s as if the door of grandmother’s soul opens slightly, and for a moment we see the tragedy of a person who lived a difficult, at times terrible life. But this life of a person broke, disfigured. Nina Antonovna could not keep the person inside herself. And she takes revenge on those who share this life with her, takes out her pain and resentment not on her loved ones.

P. Sanaev himself once (in an interview with the hosts of the “School of Scandal”) said that with his work he wanted to rehabilitate his grandmother, find and approve her bright sides, and that, in his opinion, he succeeded. In our opinion, the writer is somewhat disingenuous. Perhaps he really had such a plan, but it could not be realized. After all, as soon as the author depicts any bright scene from the life of the grandmother, another one immediately follows - even darker and more painful. The apogee of this method of contrast is the final grandmother’s monologue in front of a closed door: the grandmother instantly moves from pleas to curses, from words of forgiveness to threats and abuse: “-... Open the door, you bastard, or I will curse you with a terrible curse. You’ll gnaw your elbows to the bone later for your stubbornness.<…>Open up, Olya,<…>I won’t hold a grudge against you, I’ll take back all my words, let him live with you.<…>Let's be nice. If you are a man, I will help you as long as your legs can walk. If you're a whore, you'll flounder with him yourself. And so that you choke, since you are such a bastard!..<…>Well forgive me.<…>Forgive me, I’ll know that I’m not worthy of raising my voice at you. I will kiss your feet for such forgiveness! What a dirty door you have... I will wash it with my tears. I will wipe the entire threshold with my lips if I know that a daughter lives here, who has forgiven her mother’s sins.<…>Open up, bastard, don't kill! Damn you!.. "

So, artistic truth turned out to be stronger than simple human desire. Grandmother Nina Antonovna is truly a complex and contradictory image.

BIBLIOGRAPHY

sanaev grandmother story image

1. Lebedeva O. B. Russian high comedy of the 18th century: Genesis and poetics of the genre. Tomsk, 1996.
2. Gaidukova E. B. Questions of structural, typological and motive analysis: Educational and methodological manual. Krasnoyarsk, 2008.
3. Here and below are links to: Sanaev P.V. “Bury me behind the baseboard.” M., 2006.
4. Tolstaya T., Smirnova A. “School of slander.” Conversation with Pavel Sanaev on May 9, 2008. (issue 140): [Electronic resource] - access mode: http:// www/lovi/tv/video/play.php?Code=fnnzkhrxbu

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THE IMAGE OF GRANDMOTHER IN PAVL SANAEV’S STORY “BURY ME BEHIND THE SKIRTINTH”

Morozova M.V.

Full name, position of scientific supervisor: Gaidukova Evgenia Borisovna, associate professor of KSPU named after. V.P. Astafieva

Title of the report: The image of the grandmother in Pavel Sanaev’s story “Bury me behind the baseboard.”

Place of study, class: School No. 10, 11th grade

So, artistic truth turned out to be stronger than simple human desire. Grandmother Nina Antonovna is truly a complex and contradictory image.

BIBLIOGRAPHY

sanaev grandmother story image

1. Lebedeva O. B. Russian high comedy of the 18th century: Genesis and poetics of the genre. Tomsk, 1996.

2. Gaidukova E. B. Questions of structural, typological and motive analysis: Educational and methodological manual. Krasnoyarsk, 2008.

4. Tolstaya T., Smirnova A. “School of slander.” Conversation with Pavel Sanaev on May 9, 2008. (issue 140): [Electronic resource] - access mode: http:// www/lovi/tv/video/play.php?Code=fnnzkhrxbu

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