The image of a grandmother in Russian culture. The results of the study of the image of the grandmother in the stories of V.P.

Transcript

1 “Interregional philological school “Springs of Russia” for teachers and children from rural schools” Competition of research works in the Russian language “Family language memory of generations” Topic of research work on literature The image of a Russian grandmother and childhood associations (based on the stories of V. P. Astafieva “Grandmother’s Holiday”, “Photo in which I am not”, “Horse with a pink mane”) research work Completed by: Sidenko Yulia, 10th grade MBOU “Kulundinskaya Secondary School 3” Kulundinsky district, Altai Territory Scientific supervisor: Elena Chernodarova Nikolaevna teacher of Russian language and literature Kulunda

2 Contents Introduction Chapter 1. Grandmother is an artistic and convincing type of Russian life.6-10 Chapter 2. Folk sayings as artistic and expressive means that make up the image of grandmother in the stories “Grandma’s Holiday”, “Photograph in which I’m not in”, “Horse with pink mane" Conclusion References 16 2

3 The homeland is dear to the heart not for its local beauties, not for its clear sky, not for its pleasant climate, but for its captivating memories surrounding, so to speak, the morning and the cradle of humanity. N. Karamzin Introduction It is generally accepted that the work of Viktor Astafiev is autobiographical. There is certainly a reason for this. Any work, in essence, is unthinkable outside the circumstances and events of the life of its author, even if it is devoted to a historical theme. But it would be more than strange to consider the image of Vitya Potylitsyn an exact copy of one character of the writer himself who created him. Astafiev's heroes are overwhelmingly his contemporaries. Their spiritual growth, their experiences and upheavals naturally corresponded to the life experience of their creator, but they were never limited to this experience, did not exhaust it, since these heroes entered literature at different stages of our history and at different periods of the writer’s life. The manner of Russian literature is to write characters and circumstances of life, and not to force plots out of nothing. The appeal to the work of V. P. Astafiev is due to the extraordinary personality of the writer himself, as well as the increased interest in 3

4 recently to his works, which teach us wisdom, mutual understanding and forgiveness. The topic of this research work: “The image of a Russian grandmother and associations of childhood” (based on the stories of V.P. Astafiev “Grandma’s Holiday”, “Photograph in which I am not”, “Horse with a Pink Mane”). Hypothesis: if the image of the grandmother in the stories of V.P. Astafiev evokes associations associated with childhood, then unique verbal figures arise that make up the image of the grandmother, as a result of which a rational grain of the truly folk character of a Russian woman appears. The purpose of this research work: to study the image of a grandmother in the prose of V. P. Astafiev (based on the stories “Grandma’s Holiday”, “Photograph in which I am not”, “Horse with a Pink Mane”). Objectives: 1. Explore the image of the grandmother in the stories of V.P. Astafiev “Grandma’s Holiday”, “The Photograph in which I am not”, “A Horse with a Pink Mane” and the associations that arise when the word “grandmother” is mentioned; 2. Determine the artistic and convincing type of Russian life in the writer’s stories; 3. Determine the meaning of dialectal, commonly used words, peculiar folk expressions, signs, proverbs, as artistic and expressive means that make up the image of the grandmother in the stories “Grandma’s Holiday”, “Photograph in which I am not”, “Horse with a Pink Mane”. Object of this research work: 4

5 Grandmother, signs of childhood in the prose of V. P. Astafiev (based on the stories “Grandma’s Holiday”, “Photograph in which I am not”, “Horse with a Pink Mane”). Subject of this research work: Stories by V.P. Astafiev “Grandma’s Holiday”, “Photograph in which I am not”, “Horse with a pink mane”. Methods of this research work: deduction, theoretical analysis of popular science literature about the meaning of the image of a grandmother in the works of V. P. Astafiev “Grandma’s Holiday”, “Photograph in which I am not”, “Horse with a Pink Mane”. Chapter 1. Grandmother - an artistic and convincing type of Russian life In the narratives of Russian writers about childhood, V. P. Astafiev’s book “The Last Bow” occupies a worthy place. Organically absorbing the achievements of Russian prose from Aksakov to Shmelev, it at the same time represents a special, unique poetic world. In “The Last Bow,” Tolstoy’s dialectics of the soul, and the “purity of moral feeling,” and Gorky’s “cruel” realism, and Bunin’s subtle lyricism, and Shmelev’s spirituality of objects and details of everyday life are perceptible. But the plot-compositional structure of the book, the breadth and depth of coverage of life material indicate an original artistic phenomenon. In returning to childhood, in touching a child’s soul, responsive, trusting and open to the world, perceiving it as something extraordinary, fabulous, Astafiev sees the best and, perhaps, the only opportunity to become human (10, p. 18). In the most charming, most significant, convincing and captivating way that runs through the entire story “The Last 5

6 bow,” is, of course, the image of grandmother Ekaterina Petrovna. It is extremely multifaceted in V. Astafiev’s depiction, three-dimensional and plastic. Ekaterina Petrovna, as her grandson once discovered, “is a very respected person in the village.” Noisy, brawling, and in her own way a unique village socialite. Ekaterina Petrovna is stern and decisive when necessary, but invariably full of kindness and inexhaustible optimism. (incident in the story “The Horse with a Pink Mane”, having dishonored his grandmother with strawberries by deceit), Vitka is waiting for a fair punishment. And indeed, Ekaterina Petrovna, justifying the nickname “general,” desperately scolds Vitka. The shamed and offended grandson feels remorse. But what a stunning surprise the wonderful fairy-tale picture was for him: “Across the scraped kitchen table, as if across a vast land, with arable lands, meadows and roads, a white horse with a pink mane was galloping on pink hooves” (2 P. 69). The dream gingerbread promised by grandma in exchange for strawberries, which Vitka, for obvious reasons, has already said goodbye to. If we translate the grandmother’s behavior (she still gives the carrot) into the language of “unofficial pedagogy,” then the grandmother punishes her grandson with kindness. Indeed, Vitka learns a lesson in “high ethics.” And it’s not just about understanding that you can’t deceive and betray loved ones, but about realizing the need to forgive. And grandmother forgives Vitya both out of her natural kindness and pity, and out of her ability to sensitively and subtly understand the orphan soul of the child. Because: “How many years have passed! How many events have passed? My grandfather is no longer alive, my grandmother is no longer alive, and my life is coming to an end, but I still can’t forget my grandmother’s gingerbread from that marvelous horse with a pink mane.” 6

7 Associated with childhood are memories of the kindest, most beloved and wisest person in our lives - our grandmother. In order to find out what associations arise when the word “grandmother” is mentioned, we conducted a survey among students at our school. As a result, a generalized portrait was created. So, grandmother, childhood, kindness, care, old age, neatness, wisdom, knowledge of medicinal herbs, wrinkles, scarf, pies, affectionate, fair, with glasses, prayer, gray hair, kind wrinkled hard-working hands, fairy tales, lullaby, mittens, felt boots, woolen socks. Let's correlate the associations with the specific image of the heroine (external portrait, internal qualities, author's attitude). Grandma Astafieva Ekaterina Petrovna combines many of these qualities and appears in the stories “Grandma’s Holiday”, “The Photograph in which I am not”, “The Horse with a Pink Mane” as the keeper of folk wisdom. Let us remember how she treated the boy, how she steamed him in the bathhouse (the “caring” association). Grandmother knew many remedies for various diseases (the association “wisdom”). “At home, my grandmother gave me a spoonful of nasty vodka, infused with gristle, to warm the inside, and pickled lingonberries” (2, p. 183). Note that the grandmother, having returned from the city, nevertheless gave the boy the treasured horse with a pink mane (the association “wisdom”). Let us remember how she accommodated guests (the “care” association), and the grandmother with great diligence “knitted rolls, cut nuts” (the “pies” association). Everything about his grandmother is dear to Viktor Petrovich, which is why he “builds” her image so diligently, so carefully, bit by bit. 7

8 V.P. Astafiev can suddenly concentrate in one small episode all the simple and majestic beauty of Ekaterina Petrovna’s “big heart” - in an episode that organically echoes the chapter - the introduction, which openly talks about the purpose of art and the holiness of the great feeling for the homeland. Here - in the story “Grandma’s Holiday” - about the same thing, but passed through the grandmother’s soul: “The song about the river is drawn-out, majestic. Grandmother takes her out more and more confidently, making it more convenient for her to be picked up. And in the song she makes sure that the children feel good, that everything fits them well, and that the song awakens an indelible memory of their home, of the nest from which they flew, but which is not and will not be better (14, p. 161) . The writer's skill in identifying the hidden springs of the actions and actions of numerous characters in the story is revealed in all its internal completed episodes, but most fully, perhaps, where we are talking about the songs that were performed at the holiday. The perceived songs are so physically palpable by the child, which speaks of both the boy’s emotionality and the true place of song art in the peasant environment: “For some reason, my back immediately began to jar, and a chill ran through my whole body like a scattering of thorns from the enthusiasm that arose around me. The closer my grandmother brought the song to a common voice, the more intense her voice became and the paler her face, the thicker the needles pierced me, it seemed that the blood thickened and stopped in my veins” (14, p. 163). We also noticed one feature: the author very sweetly describes grandma’s flower pots. Ekaterina Petrovna loves beauty, flowers bring her joy: “Flowers sprinkled the windows, the bulb curled 8

9 dark gramophones, dropping dried petals on the window, waiting in the wings to please people” (7, p. 8). Here is V. Kurbatov’s opinion in relation to the image of Ekaterina Petrovna: “The main character of “Bow” is Vitka’s grandmother Ekaterina Petrovna, which is precisely why she will become our common Russian grandmother, because she will gather in herself, in a rare living completeness, everything that still remains in her native land strong, inherited, originally dear, which we somehow instinctively recognize as our own, as if it was shining for all of us and given in advance and forever. He will not embellish anything in it, he will leave behind his storm of character, his grumpiness, and his indispensable desire to be the first to point out everything and to give orders to everyone in the village (one word General). And she fights, suffers for her grandchildren, breaks into anger and tears, and begins to talk about life, and now, it turns out, there are no hardships in her for her grandmother.” Behind the ethical sketches, so innocently charming, deep philosophy emerges. The material world (a marvelous gingerbread or new tights pants), like poetic pictures of nature, are not valuable in themselves for the author. They act as certain intermediaries of warm human communication, spiritual contact between people, and introducing the child to the true values of life. And, becoming spiritualized in this process, the thing already acquires a certain moral meaning, being deposited in memory for a long time. 9

10 Chapter 2. Folk sayings as artistic and expressive means that make up the image of the grandmother in the stories “Grandma’s Holiday”, “The Photograph in which I am not”, “A Horse with a Pink Mane” It is known that sometimes works of art provide more material and facts for thought , for understanding a historical period than other scientific studies. “The Last Bow” belongs to such books. This is a kind of encyclopedia of the Siberian village of the thirties of the twentieth century. Almost the entire range of problems that the Siberian peasant had to face in those years is covered. There is a bright face in our soul that always attracts, is always infinitely dear. For the writer, this light was the grandmother. He considers her his main educator. The image of Ekaterina Petrovna runs through the entire book and is its core. Everything about this woman 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. Almost everything in the book is native to Ovsyanka, its people, the land of the writer’s fathers and grandfathers. He visibly and recognizably transferred much of what he saw and heard from his fellow countrymen into “The Last Bow” (13 P. 352). Perhaps it would not be worth dwelling in such detail on the meaning of folk sayings if they were not so organically connected with the general image of the grandmother in the stories of V.P. Astafiev. The ethical completeness, the completeness of the stories “rests” on the beauty of the grandmother’s character, this is indisputable, but also on the charm of the narrator himself, 10

11 who is present everywhere, participates in events or acutely experiences them. The narrator's memory and eye for detail captivates. Ten years after the appearance of the story “Grandma’s Holiday” in print, the author returned to it, no, he did not rewrite it, but edited it, thereby achieving great expressiveness. Nothing changed significantly, but something was removed or added, and the picture became different in lighting, in tempo, in unity with everything else previously found. The heroes of the story more often than before spoke with proverbs, proverbs, sayings, aphorisms, or decorated their speech with fancy verbal figures (14, p. 165). It was not in vain that the demanding artist returned to the text of ten years ago: an edit, inconspicuous at first glance, enriched the story, made it more perfect in form and deeper. The grandmother's speech is expressive in all the stories. For example, the sayings “the forest will wither when it looks at the forest”, “the navel is a knot, the legs are round”, “the spirit will be a plowman, a plowman!”, “the husband and wife are one Satan” (“Grandma’s Holiday”). Distorted commonly used, dialect words, peculiar folk expressions, signs, sayings: “rematism” (rheumatism), “prettier” (better), “tutoka” (here, here), “andela” (angels), “ne studisya” (not catch a cold), “molchi” (be silent), “robenok” (child), “baushka” (grandmother); “it was twisted with a hook”, “the moss sucks up the dampness”, “the ember does not allow the glass to freeze” (“Photograph in which I am not”); “eroplan” (airplane), “hot” (want), “headquarters” (so that), “kulturnay” (cultural), “now” (now) (“Horse with a pink mane”). eleven

12 Having studied the material Municipal budgetary educational institution Conclusion on the work of V.P. Astafiev, having examined the image of the grandmother in the writer’s stories, it should be noted that: - in the works “Grandma’s Holiday”, “Photograph in which I am not”, “Horse with a pink mane” "The image of the grandmother is one of the leading images; - the grandmother’s peculiar language, filled with proverbs, proverbs, sayings, aphorisms or fancy verbal figures that decorate the speech, reveals to us, the readers, the beauty and unique language of Siberia. Viktor Petrovich Astafiev presented his grandmother in his works as one of the main characters of his stories. It seems that the memory itself, which so pampered him, so tenacious and capacious, awakened precisely after the death of his mother, when he was already called “Vitka Katerinin” in Ovsyanka. The image of the grandmother, which runs like a red line through the prose of V.P. Astafiev, does not leave anyone indifferent, and in the thoughts of the readers a sweet image of the grandmother of their childhood appears. Thus, the writer’s stories have a practical orientation, awakening in the heart of every reader feelings of deep respect and admiration for the most important woman, the grandmother, who is able to forgive any sins, scold for disobedience and immediately caress and warm with an affectionate word. 12

13 *** This material can be used in literature lessons dedicated to V.P. Astafiev, at extracurricular activities and class hours. 13

14 References 1. Astafiev V.P. Stories. Stories. M Astafiev V.P. Last bow. Tale. M. “Contemporary” Astafiev V.P. Theft. Last bow. M Kozhevnikova Z. A. With love about the good and eternal The story of V. P Astafiev “A horse with a pink mane” // Literature at school Kurbatov V. Ya. Moment and eternity. Krasnoyarsk Meshalkin A. N. The treasured book of V. P. Astafiev. The world of childhood, kindness and beauty in the story “The Last Bow” // Literature at school Popok V. “Our fellow countryman Viktor Astafiev” // Kuzbass (reading circle) The river of life of Viktor Astafiev (according to the pages of publications) / Comp. V. G. Shvetsova. Krasnoyarsk: IPC "KASS" Kholomiev N. G. Pink horse of childhood. V. P. Astafiev’s story “A Horse with a Pink Mane” in the context of the story “The Last Bow” // Literature at school N. Yanovsky. Victor Astafiev. M. “Soviet writer”

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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)

Grandmothers, grandmothers, literary and ours!

“Before her, it was as if I was sleeping, hidden in the dark, but she appeared, woke me up, brought me into the light, tied everything around me into a continuous thread, wove everything into multi-colored lace and immediately became a friend for life, the closest to my heart, the most understandable and a dear person - it was her selfless love for the world that enriched me, saturating me with strong strength for a difficult life,” I once read the words of M. Gorky in his autobiographical trilogy and was surprised. What wonderful words! It seemed to me that they were said specifically about my grandmother Nikitina Valentina Ivanovna. I also came to know her late, because I was born and lived in another village, located quite far from my grandmother’s village. We had to return to it after the tragic death of my dad. More details below.

Until the 5th grade, my brother and I studied at another school and lived with my father’s parents in the same house. Our family was large: dad, mom, me, brother, grandparents. We lived like all normal people, soul to soul. The adults went to work, we went to school. But one fine day our dad died, and after a while my second brother was born. This is where everything went wrong. For no apparent reason, my grandmother began to get angry with us, sometimes screaming and grumbling. My little brother especially annoyed her. Of course, we didn’t understand anything, but my mother often cried at night. I tried to calm her down, but why did she need baby talk. Soon the four of us moved to the village where my mother was born and raised. They began to live with their grandparents on their mother’s side. It was here that I experienced true grandmotherly warmth. This thin, short, hardworking, gentle, sweet grandmother Valentina Ivanovna was ready to do anything for us.

What didn’t she do to us! She worked on a farm as a night cattle worker. During the day, she didn’t sit idle for a minute at home: she knitted, sewed, cooked food, looked after the cattle, cleaned the yard, worked in the garden, and managed to sit with the baby. She taught us all this too. I am very grateful to her for this. When we bought a small house and began to live separately, my grandmother managed to work for two houses. I don’t know a person who is kinder and nicer than our grandmother. Maybe that’s why I re-read books that depict grandmothers with great pleasure. I like to compare literary images with real life ones. Sometimes it seems that some writers are describing my grandmother specifically.

After all, how similar to her are Akulina Ivanovna (M. Gorky’s “Childhood”), Katerina Petrovna (V. Astafiev’s “Last Bow”), Varvara Ionovna (E. Nosov’s “Patchwork Blanket”), Tatyana Markovna Berezhkova (I. Goncharov’s “Cliff” ). These are simple women - workers. Their faces and hands are wrinkled. They are constantly taking care of the household and their grandchildren. At the same time, they are different, each is interesting in its own way, each believes in God in its own way, prays for family and friends, and turns to the Queen of Heaven for help. All of them, like my grandmother, are respected people. Each is talented: craftswoman - Akulina Ivanovna (lacemaker), Varvara Ionovna (quilt and sewed clothes); Katerina Petrovna knows herbs, spells, and heals people and animals. Here we see thrift, skill, patience, and artistic taste. Everyone is at work from morning to evening, busy with housework, all household chores are on their shoulders. They are homemakers. Writers, through the actions of their heroines, emphasize that people need to carefully communicate with each other, because each person is unique and unrepeatable. Difficult material and life trials did not break them, they did not become embittered towards the world and people, they survived, telling their grandchildren about their past life, and teach a moral lesson to the generation: a lesson of kindness and mercy, love and tolerance. Why not my grandmother? In each of them I recognize my own soul.

In the stories of V. Astafiev and E. Nosov, we see images of women from the village, M. Gorky from the city of Nizhny. These are images of real hard workers who honor traditions and cannot imagine their lives without helping other people, without love and care for their relatives. These are representatives of the mid-twentieth century, but written by writers at different times. They speak so touchingly about their relatives, they are so frank with us, they are not ashamed to open up to all readers. They awaken in the heart of every reader feelings of deep respect and admiration for the most important woman - the grandmother, who is able to forgive any sins, scold for disobedience and immediately caress and warm with a kind word. These grandmothers and mine are united by kindness, love for their loved ones, and care for them. They are the guardians of folk wisdom, family, protectors of children and grandchildren.

How good it is that there are such grandmothers in the world! There are literary and ordinary ones. All of them are very important and necessary for us. They will always be in our hearts. We must remember them and take care of them. It is not for nothing that writers, artists, and sculptors in their works try to draw special attention to this topic, a topic that is very relevant in our time - a time of shortage of kindness, mercy, mutual understanding, forgiveness, so that we are not late to say kind words to our grandmothers, to thank them for all the great things that they have done and are doing for us.

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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

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 to 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 stale”; "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.

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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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.

The image of a grandmother in Russian culture. The results of the study of the image of the grandmother in the stories of V.P.

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1. The concept of “grandmother”

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