Professor Uzhankov all lectures on Russian literature. Moscow Sretensky Theological Seminary

Discussing Anna Gaganova's material ""

Anastasia

When did I go to the Republic of Lithuania, and here is such “jaundice”. We were surprised. I graduated from Inyaz (MSLU) several years ago. Alexander Nikolaevich<Ужанков>I taught a course on classical literature with us. Sometimes his lectures were moved to the assembly hall, and people still dragged chairs; People from other faculties also came to listen. He also taught to foreigners. Powerful professor. By the way, after us he went to read at Moscow State University (note to the author of the strange correspondence). This is the first time I’ve heard the phrase “seminar girls” - as far as I know, only young men are accepted into the seminary. Old Russian literature is all based on Orthodoxy, such a historical layer. I have his monograph (I wrote a term paper), there are more than 600 references to other authors. I don’t know who Anna G. is, but Uzhankova A.N. I will always remember. And if indeed 99% of the “rotten fish” of the Literary Institute supported Uzhankov’s departure, then this only does him honor.

Max ([email protected] )

How can you print such crap? How can you trust material that begins with the word “they say” and is clearly built on speculation, gossip, innuendo, and the author is so cowardly that he asks for anonymity? Those. We can pour out a tub of dirt, but only on the sly, so as not to bear responsibility? And all this is published by Literary Russia. Bravo. The bottom has been found. Thank you for at least announcing the name, now I’ll know who shouldn’t be read.

Uzhankov is a really cool scientist, I would say, a genius of our time. I watch/search for all his lectures with pleasure (I even subscribed to his VKontakte group), personally attended the lectures, and talked afterwards. I can say that he is a decent, principled person, passionate about science. Apparently he crossed someone's path...

Michael ([email protected] )

“Obscurantism” does this strange three-named creature call our thousand-year-old faith, holy Orthodoxy? Insults the canonized holy virgin Fevronia? Well, this perky Komsomol member, who was late in the 20s, pronounced her verdict on herself.

old friend ([email protected] )

I know this Anna Gaganova, she was rejected, in my opinion, not only by Uzhankov, but also by everyone to whom she approached with her dissertation, due to not just her lack of competence (this is a gainful matter), but her frank desire to steal the crust, without burdening herself with deep knowledge - a confidently semi-literate person. Uzhankov sent her to journalism.
And about Uzhankov, as a childhood friend, I will say: he began to study “other people’s works” in school, being obsessed with medieval studies; He secretly spent all the money his mother gave him for lunch on books. For half a century he has collected a library of 10 thousand books, he knows in which and on which page what to find - everything is in his notes.

Uzhankov is not just an intellectual, he is a world-class scientist who is constantly in demand in Russia (he has traveled all over with reports and lectures), and in Europe, the USA, and Japan. All the libraries of the world fit in his head. The concentration of information in his lectures makes your brain boil. His conceptual works are presented in more than two hundred works, twenty books, monographs, textbooks, etc. (I have many - I read them avidly). By the way, only two of his books were published in Lita with grants. It seems that Anna is not even aware that Uzhankov created the concept of the development of Russian literature, accurately dated “The Tale of Igor’s Campaign” and even discovered its author, which actually qualifies for a State Prize. As for his vice-rectorship, Varlamov said that the Literary Institute, as a creative university, does not need science, which surprised even me.

So much bile, insults, devilry from mediocrity towards a venerable scientist is probably not new in history. But it's very disgusting.

SADOVSKY

She, according to her own statement (letter to Lit.Russia) is a “professional philologist.” Interesting phrase!

Alexander TURCHIN

Well, what can you say about the content of the material? Wonderful are your works, O Lord...

But as far as I understand, I don’t understand disclosing a pseudonym without agreement with the author. I recommend that the editors acknowledge this step completely
wrong.

Gagaev A.A

A.N. Nekrasov noted that there are no people in Russia who are not offended. Anyone who is not offended is not Russian. Muhammad: “Do not offend, and you will not be offended!” (Holy Quran, 2 Cow, 279 (279)). But, being the author of works on St. Sergius of Radonezh, St. Habakkuk, Russian and oriental fairy tales, listened to lectures by A.N. Uzhankov on the Internet on these topics and came to the conclusion that he lacked original judgments. For example, the text of the fairy tale “Turnip” goes back to the pretext of the Indian fairy tale “Turnip”, and the text in the theory of understanding and interpretation of the fairy tale (or cosmo-psycho-logos, or V.Ya. Propp) contains the meanings of: the pretext, including religions and their dogmatics , nominal meaning, real meaning, deconstructive meaning, epochal meaning, Russian meaning, the meaning of the aftereffect of the text, the text’s own intention, the meaning of acculturation, the reception of retorsion, subjective meanings that correspond to or ignore the stated theory of the truthful meaning of a fairy tale. Only grandparents in a fairy tale - the deconstructive sociological meaning of an incomplete family in the reality of continuous wars and recruitment. Meanwhile, from 1054 to 1461 - 245 wars. From 1240 to 1461 - every year there was war. From 1380 to 1918 - 537 years, of which 334 years of war with 2-8 opponents. The Russian superethnos, Slavs, Finno-Ugric, Tatars together withstood the 700 Polish intervention in 1551-1703. - 140 - Polish-Lithuanian-Livonian intervention, in 1475-1812. - 340th Turkish expansion. In 1240-1480 - Tatar-Mongol occupation. In 1918-1921 they withstood Western intervention, losing 8 million people. In 1941-1945 they survived the Second Western Intervention, losing 37 million people. The meanings of the tale have real sociological meaning. This is not fantasy!

Young woman<Гаганова>She also raised a serious question, the failure of which leads to the degradation of science: if this is scientific advice, then what does awarding a scientific degree for the fact that a person believes in the Lord have to do with it? All religions are true; no science is true; no science is a religion!

We have a lot of doctors of science and academicians, but no science, including philology!

PROFESSOR ALEXANDER UZHANKOV: EDUCATION WITH BEAUTY

TO THE 10TH ANNIVERSARY OF SRETENSKY THEOLOGICAL SCHOOL. SERVING THE WORD. PART 2 Conversation with Professor A.N. Uzhankov

TO THE 10TH ANNIVERSARY OF SRETENSKY THEOLOGICAL SCHOOL. SERVING THE WORD. PART 1 Conversation with Professor A.N. Uzhankov

IN THE RAYS OF THE SETTING SUN FOR THE 80TH ANNIVERSARY OF THE EVENTS THAT UNPLOCKED ON THE PAGES OF M.A.’S NOVEL BULGAKOV "THE MASTER AND MARGARITA"

PERCEPTION OF CREATIVITY AND WRITING IN ANCIENT Rus'

“YOU NEED TO READ WITH A PENCIL IN YOUR HAND” Conversations about Russian literature (+VIDEO)

AUDITORIUMS, MUSEUMS, HOME LIBRARIES

WESTERN EUROPEAN AND RUSSIAN LITERATURE

“CINEMA IS THE MOST IMPORTANT OF THE ARTS AS LONG AS PEOPLE ARE ILLITERATE”

“LEARN TO READ CORRECTLY!”

THE CHURCH AND THE BYZANTINE EMPIRE: AN EPIPHANIC CONNECTION OF EVENTS

FROM DIABLERY TO “OPERETKA”: MUSICAL BUFF AND TECHNIQUES OF NEUROLINGUISTIC PROGRAMMING IN M. A. BULGAKOV’S MYSTERY NOVEL “THE WHITE GUARD”

CATEGORY OF TRANSFORMATION IN THE WORK OF A. S. PUSHKIN

Kyiv METROPOLITAN HILARION (1051-1054)

IMAGES OF ARTISTS IN THE EARLY PROSE OF D. S. MEREZHKOVSKY (BASED ON THE NOVELS “JULIAN THE Apostate”, “LEONARDO DA VINCI” AND “ITALIAN STORIES”)

Theorist and historian of literature and culture of Ancient Rus', teacher at Sretensky Theological Seminary, vice-rector of the Literary Institute named after. Maxim Gorky.

– Alexander Nikolaevich, a modern person living in constant time pressure, certainly knows that reading is necessary - in order to understand the world around him, to understand himself. But he also has many other desires that push reading into the background. So what books should fill this “background”? What should you read at all costs?

- It's a question of priorities. And reading is different from reading. For example, newspapers and periodicals can be read on the subway. Detective stories to kill time (this is an amazing expression: “to kill time”) can also be read on the subway. But Dostoevsky!.. I don’t understand when they read Dostoevsky in the subway.

A tribute to today's times - e-books. I have several of them, but I hardly use them. I love holding a published, printed book in my hands. It has a certain font, there are margins without which I cannot read. I always read with a pencil, and always make some notes in the margins. And how interesting it is to re-read it later! It’s interesting to see what places are marked, to see your thoughts that you wrote down in the margins next to each other.

I was once amazed by Gorky: he always read very quickly - and always with a pencil in his hands. All the books in his library - it has been preserved, is in the Gorky Museum, it is about 10,000 books - so, all the books in his library are marked! He read very carefully. But he also responded to young authors. But almost all literary critics and all writers read with a pencil. This is, so to speak, an axiom.

So what should you read first? I will say this: less is more. After all, even in Russian literature there are a lot of names. The course that, for example, I teach at Sretensky Seminary is designed for almost four years, and at the same time I’m not talking about many writers whose work I would really like to dwell on, and these are not even writers of the second plan, but of the first. Because it is better to take a deeper look at the works of Pushkin, Gogol, Lermontov, Dostoevsky, Tolstoy, and consider them more scrupulously. I give the most important thing - a technique for reading texts. And then let the guys go on their own, they have learned to read correctly.

In principle, the teacher’s task No. 1 is to teach reading. It would seem that at school we learn to read, and we know how to read, but... we only know how to swallow letters, words, sentences, comprehend the plot and then retell it - and in this, by the way, all sorts of encyclopedias are especially skilled. Indeed, why read four volumes of “War and Peace” if you can skim through 8 or 16 pages of some incomprehensible text - and you will already have an idea about the novel and even be considered an educated person, because you basically know what “War and Peace” is about? world". But the question arises: why did Tolstoy need five years of hard labor? He is a sybarite, he loves balls, roulette, cards, and he gives up all this in order to write a novel - and not for the sake of a fee, I emphasize, and not even for the sake of fame, although he was a vain man. But he wanted to convey something to us! But we don’t need this, 8 pages are enough for us...

The main thing is our attitude towards what we read. Essentially, a work of art is a spiritual mirror into which we look, and it shows what we see. If we see only one detective story, then this is our content. If we see the theological meaning, it means that we have already advanced a little spiritually, which means that we already see what others do not notice. Perhaps even the author himself did not imagine that he had this meaning, but we saw it. What does this indicate? We can see that our spiritual vision is already sharpened.

– A question that is extremely important for reading comprehension: what are the rules by following which a person will find the joy of reading? After all, we know that a person begins to value spiritual life when he feels the first victories over himself.

– It’s the same in reading: when there are the first discoveries, when a person suddenly finds something unexpected for himself in a text that seems to have been known for a long time.

Former students of some universities where I once taught and I practice the following. Periodically - say, once a month - we meet somewhere. And we agree in advance which work everyone is reading. This is the main condition: for everyone to read it. At these meetings we discuss it. And discoveries happen! Firstly, when they were reading, it turns out that they had already made a bunch of discoveries, and now that we have gathered together and are starting a discussion, everyone is sharing these discoveries. Do you understand how interesting it is?! This is much more interesting than reading detective stories, much more interesting. And you can’t even imagine how happy they are about these discoveries! Why? Because these are small victories over oneself, over, so to speak, routine. They all “sit” on the Internet, most of them are journalists, and professional journalists at that, so they read a lot, and, nevertheless, for them it is an outlet - to read a small work, and then all together discuss it, analyze it, look, discover meanings. And this is also a great joy. And the further they grow up, the more is revealed to them - this is the same spiritual growth, only thanks to literature.

– You never give your lectures “from a piece of paper,” and even more so, never from a printed text. And if you turn to some auxiliary materials, then these are always your hand sketches, made on small pieces of paper, which, one might say, are unique. And in this regard, your manner of presenting information is unique. What can this method of working with text give me, as a reader, when I write something out for myself by hand, take notes, and not just read the already mentioned e-books and tablets, as is customary for many today?

– The manuscript is yours. Even when you write a book, if you write it by hand, it’s yours. Dostoevsky once said that you must definitely dip your pen into the inkwell: because while you are carrying the pen to it, and then to a sheet of paper, you are thinking about a thought. You need to think all the time. When you scribble, thinking seems to disappear; when the writing process is slow, there is an opportunity to think. Of course, he spoke with some irony, but the meaning is deep.

When you write with your own hand, this text is truly yours and no one else’s – it’s written in your handwriting, and it’s as if your energy is preserved in it.

When the text is typed on a computer, I still edit it by hand - I make a printout and make changes to it. You can, of course, edit on a computer, but it’s better this way: you can better see where to change what word, where to make a stylistic edit.

And when a book comes out, you look at it as a completely alien creation. Nothing connects it with you - block letters, paper, some kind of binding... well, maybe, except maybe your last name. And it is still unknown whether you wrote a book or whether some ideas came from above. That’s why you also look at the last name with some apprehension: it’s there, but is it your book? can you tell that this is my book?

And these are my pieces of paper - I know every letter in them. And if I need to replace something, I replace it, write another... They accumulate, then these notes will be used somehow: in an article, in a new lecture, in a report... They are all collected first in envelopes, then the envelopes - in folders, then everything is put into a large folder. And everything is systematized. But the most important thing - I tell students about this when they write term papers or dissertations: be sure to record the first thoughts that appear when reading the text - they are the most interesting. Then you will return to them. If you don’t record them, that’s it, you’ll forget them. It’s like a dream: when you dream, you remember and are present in the dream, as soon as you wake up - maybe you still remember at first, but in the evening you don’t. It’s exactly the same with this thought. But it can be extremely precious. After all, this is the same contact, especially if you read spiritual literature, a contact sent from above. And so that it doesn’t get interrupted, write it down, record it somewhere. You will certainly come back to this later. I even have a special notebook - not a diary, no, but for some incidental thoughts, as they say. And when you re-read it after some time, you are amazed: these are not your thoughts, I couldn’t think like that! But these thoughts will decorate any article, any report, any lecture. That’s why I always tell the guys: “You need to read with a pencil and definitely record these passing thoughts.”

– Alexander Nikolaevich, we have to admit that modern schools often discourage students from reading Russian classics. What advice could you give to a person who wants to rediscover this amazingly rich spiritual world of Russian literature?

- There is only one piece of advice - read. Read as much as possible! I'll start with the most basic. When I talk to students, especially at the first lecture, I ask them “tricky questions”: “Tell me, have you read these works?” - “We read.” - “And what is their main idea?” They begin to remember and try to answer something. I say: “Are you sure?” And when we start to dig a little deeper, it turns out that, indeed, the study of literary works in school is very, very superficial. Maybe for a school, especially for the middle classes, this is permissible, because there it is necessary to take into account both the age of the child and his capabilities - both mental and psychological: how much he can perceive certain works. In high school there should be a more serious approach. During this period, the formation of a worldview takes place, where the approach to studying works will be much more complicated.

I always tell my students that any work of Russian literature must be read at least twice. The first time is an introduction to the plot. The second time - getting to know the details.

To understand what idea a 19th century writer conveys or introduces into his work, you need to pay attention to the details. I once had a wonderful teacher - Professor Alexey Vladimirovich Chicherin, who graduated from high school before the revolution. And he said: “We were taught to read slowly - or read closely.” That is, high school students were in no hurry to read, they were not taught speed reading. Why? Because if you read quickly, you don’t notice the details, you don’t comprehend the meaning.

And he also taught us to read slowly. That’s why I also teach my students to read closely. I tell them: “I am a bridge between the 21st and 19th centuries. Why? Because my teachers were born in the 19th century, they taught me, now I am teaching you, already in the 21st century.”

The Pravoslavie.Ru portal offers readers a series of conversations about Russian literature and culture with Professor Alexander Nikolaevich Uzhankov, theorist and historian of literature and culture of Ancient Rus', teacher at Sretensky Theological Seminary, vice-rector of the Literary Institute. Maxim Gorky.

I always tell my students that any work of Russian literature must be read at least twice. The first time is an introduction to the plot. The second time - getting to know the details.

Detail is the queen of meaning. If we notice details, we can understand the meaning

More formalists, first the Germans at the end of the 19th century, then the Russian formalists of the beginning of the 20th century, revealed that in world literature there are only 36 plots - although some counted 38. But this does not matter: 36 or 38 plots. And everything else is their variations. This means that the plot is not so important for revealing the meaning. Details matter. Detail is the queen of meaning. That is, if we notice the details, then we can understand the meaning. So: if we take ancient Russian literature, then there is no artistry in it, there are no images, and there is a reflection of reality through an idea or through an idea - this is very important. Old Russian literature is all ideological, but it is also religious, naturally, but all ideological. When an image appears in the transition period to the New Age, then reality is already reflected through the image. Through the artistic perception of the world, it is reflected in the work.

Alexey Vladimirovich Chicherin

So, through careful and thoughtful reading we can discover meanings. Even in those works that seem to be very familiar to us.

Let's say, "Crime and Punishment." If we talk about the plot, it's just a detective story. Some young student killed an old woman - that’s a crime, and the punishment is hard labor; that is, a criminal offense and criminal punishment.

The second level of perception is the discovery of a moral crime, because he has crossed a moral line - the commandment “thou shalt not kill” - and receives moral punishment - remorse. He suffers for a long time and cannot bear “this,” as he calls the murder. He is not even able to call everything by its proper name: his crime is murder. He cannot bear “this”, and for him the easiest way out is to denounce himself. But this is the wrong way out, this is not repentance, this is not a change of mind or a change of consciousness - as the word “repentance” is translated from Greek. He is simply ready to be punished for the murder he committed and go to hard labor.

The third level of understanding Dostoevsky’s novel is theological. Why? Because Raskolnikov is the new Cain

And finally, the third level of understanding is the theological level. Why? Because Raskolnikov is the new Cain. If we can somehow independently see and comprehend the first and second levels, then to understand the third, theological level, certain knowledge is required. To see and interpret the parallels between Raskolnikov and Cain, you need to know well, firstly, the Holy Scriptures, and secondly, know the Gospel very well. Let us remember that Dostoevsky in hard labor had the right to read only the New Testament, which was given to him by Natalya Fonvizina, the wife of one of the Decembrists. And in five years he learned it almost by heart. Therefore, all the works written by Dostoevsky after hard labor and exile can only be read and opened with the help of the key - the New Testament, and above all the Gospel, otherwise it will not work.

This is not done at school, that is, schoolchildren will never reach this level, but even in universities they do not reach this level, so, of course, a lot depends on the teacher, how he will interest the schoolchild or student. But it is also important that there be a certain basis, because any work of Russian literature must be considered, firstly, in the context of its time; secondly, surrounded by other works; and thirdly, from the position of the worldview of the writer himself. That’s why you need to know the writer’s worldview. Let's say, Pushkin was an atheist in his youth, but became a deeply religious person. Consequently, it is impossible from the same positions to consider his lyrics from the period of the Tsarskoye Selo Lyceum and those works that were written by him in Mikhailovsky and after Mikhailovsky. These are two completely different worldview writers and poets.

Vladimir Koshevoy (Raskolnikov). Still from the film “Crime and Punishment”

So, without taking into account the different circumstances in the writer’s life and the evolution of his worldview, we are doomed to misunderstanding both his work and all Russian literature. And we ourselves change every year, which means our perception of literary works also changes.

I reread many works, if not annually, then once every two years - undoubtedly, to refresh my memory. And when you prepare for lectures and practical classes in order to highlight some interesting points, the most amazing thing is that every time you find something new for yourself. This is the greatness and power of Russian literature! That is why it is never boring to read the classics, because it awakens your own thoughts, interesting insights come, awareness of the historical connection between the past and reality, the discovery of the multifaceted personality of the writer. For example, through lyrics you can better understand a poet, through prosaic works of art you can understand his worldview, and so on.

A book is communication. Without a book, a person cannot develop

Last year we widely celebrated Lermontov’s anniversary - 200 years since his birth. But few people pay attention to how much Lermontov read. From childhood, and when he studied at the Noble boarding school at the university, and when he was a student at the Faculty of Philosophy at Moscow University for two years, he read a lot. He had few friends - in fact, almost no friends, but his real friend was the book. And many noted that during breaks he was always seen sitting on the windowsill with some book. Because a book is a special communication. Without a book, a person cannot develop - I can say this right away. Many people believe that the Internet can replace knowledge, but on the Internet there is no knowledge, there is only information. Firstly, knowledge is a specific system. And secondly, on the Internet you can find the text of, say, a work of art, but in order to interpret it, you need to do a lot of creative work yourself, or talk with one of your friends, or talk with a teacher, or keep a diary.

What I always recommend to my students is to keep a journal. Why? Because this is introspection. This is not just a reflection of what you read, some kind of assessment of reality, but it is an observation of yourself, of your growth - what you were like a year ago or what you were like 10 years ago; you can see your circle of friends and readings, and evaluate the course of your thoughts, how they develop.

M.Yu. Lermontov

If we talk about those works that absolutely need to be read, then this is, in fact, the entire school curriculum. This, naturally, is Pushkin: both “Eugene Onegin” and “The Captain’s Daughter”, but between them there must certainly be “Boris Godunov”. Why? Because in this case we have an example of Alexander Sergeevich’s rethinking of both the plot and the historical events themselves. Even before Pushkin they wrote on this historical plot, but, however, before him, the focus of playwrights was Dmitry the Pretender. Even Lope de Vega wrote the tragedy “Dmitry the Pretender”, and Sumarokov wrote it. Pushkin writes differently, although at first he also thought of writing about Dmitry the Pretender, but in the end he was attracted by Boris Godunov, he was interested in the tragic fate of such a strong personality as Boris Godunov. And what was the tragedy? A murderer on the throne, his moral torment. This was in tune with his time, because Emperor Alexander I ascended the throne after the tragic death of his father. Is he guilty or not guilty? Alexander I always felt guilty in the death of Paul I. It was no coincidence that Pushkin took this plot, because something in this atmosphere was consonant with the Time of Troubles. And in relations with the emperor, many saw a reflection of relations with Boris Godunov. But, on the other hand, Pushkin also draws attention to the responsibility of the people in the course of history. Why? Because the people shouted: “Boriska for the kingdom”! Does this mean that the people are also responsible for the criminal on the throne if they elected him? Without a doubt. Why are people silent at the end, do you understand? He does not want to be an accomplice to a new bloody crime.

That is, each work must be able to be interpreted accordingly.

Pechorin cannot be perceived the way he is “passed on” at school - with an aura of romance

If we talk about Lermontov, then he is certainly a “Hero of our time.” But he should not be perceived in the same way, not romantically, as he is “passed on” at school: he is a wonderful hero, with an aura of romance, well, really, an outcast, an “extra” person - and everyone feels sorry for him. But read carefully Lermontov’s preface to this work: he testifies that he summarized all the vices of his contemporary society in this man. That is, this is the most vicious person who can be. And then look at the image of Pechorin through these vices. What do we see? I'm not talking about all nineteen commandments for a Christian. The Nine Beatitudes do not apply to Pechorin at all, although he was originally a religious person, in any case, he was brought up in that environment. Remember “Taman”, when he enters the house and immediately turns to the red corner to cross himself, but does not see the icons. “A bad sign,” he thinks. You see, he notices such details. Look: Pechorin violates all ten Old Testament commandments. All ten commandments that protect a person from sin. This is the disease that Lermontov calls. He says that he indicated the disease, but God knows how to recover from it. Do you understand? And, again, Lermontov gives a field of freedom to the imagination and consciousness of the reader. I, the writer, indicated the disease, but how will you get out of it, will you, the reader, discover this disease in yourself? The diagnosis has been made. Look at yourself, if you find this, then change. Russian literature is precisely what contributes to human change.

I can also recommend Gogol’s “The Inspector General”, again with the correct interpretation. What is the final scene in The Inspector General? This is a picture of the Last Judgment. You need to understand why they all froze. “Whatever I find, that is what I will judge,” said the Lord. When God's judgment comes, you will no longer be able to move a single member - neither arm nor leg, and you will no longer be able to change anything in your destiny. This should have an impact, a strong impact on the viewer and reader, Gogol believed.

Inspector. Silent scene. Moscow Art Theater. 1908

His romantic works can also be recommended for reading, but be sure to look at how they were written and for what purpose. Why is a person stronger than evil spirits, and when is he stronger? When he is with God, when he is a believer. Why, say, Thomas Brutus dies in the story “Viy”? Because he is of little faith, although he is a student and studies at the seminary - do you understand? - but he has no faith. He gets drunk for courage, so to speak, before going to the temple to reprimand the lady. Why? Because he is weak in faith, he does not believe that the Lord can save him. What, will vodka help, add courage? You see, each work has its own specific zest, you must definitely see it.

“Portrait” and “Overcoat” should be studied together - this is how they stand in the “Petersburg Tales” cycle

Very strong works - I think you should definitely know these works - both “Portrait” and “Overcoat”. But they should be studied together. This is how they stand in Gogol’s “Petersburg Tales” cycle, and this is how they should be viewed. Why? Because “Portrait” is dedicated to the consideration of a person’s talent, to the fact that one must serve God with talent. This nameless artist, who painted a portrait of a moneylender, in which he embodied evil spirits, and thereby sinned, then repented, went to a monastery and served God - he wrote “Christmas”. You see, we see here a transformation of personality. And the story "The Overcoat". Analyzing it, we talk about the spiritual poverty of the little man Akaki Akakievich, who collects earthly riches, not spiritual ones.

Undoubtedly, “Taras Bulba” needs to be read, especially through the prism of the events that are happening now in Ukraine. And paying attention specifically to the author’s second edition of the story is also an important point. There are first and second editions. In the second edition, the word “Russian” in the meaning of “Orthodox” was used by Gogol, if I’m not mistaken, 36 times, and in the first edition, in my opinion, three or four times.

Russian means Orthodox. These are synonyms, and Gogol knew this.

How is this story translated into Ukrainian now? There, instead of “Russian”, the word “Ukrainian” is used, and this has a completely different meaning. Because Russian means Orthodox. These are synonyms, and Gogol knew this. This was the case in Ancient Rus' and in ancient Russian literature, and Gogol uses this concept in exactly the same meaning in his story. When we look at “Taras Bulba” precisely from these positions, a special meaning opens up... Why? Because there they fight for the Orthodox faith, for the Russian land and for their Orthodox brothers... You see, then this is a completely different perception. And you also need to remember: “Well, son, did your Poles help you?” This sounds like a warning to us: are the Poles, and the West in general, helping or not?

At F.M. You need to read at least three works by Dostoevsky, progressively. These are “Crime and Punishment”, “The Idiot” and “The Brothers Karamazov”. Complex works, but you have to read them that way, incrementally. Dostoevsky needs to be considered and read after Gogol, because he starts from Gogol. And try to consider what problem the writer is raising. In the first novel - the problem of a proud personality. And the novel “The Idiot” was originally conceived as a novel about the manifestation of humility in a proud person. But Dostoevsky started it twice and abandoned it twice - it didn’t work. Why? Because a proud man, such as Raskolnikov was, does not humble himself. And therefore it was necessary to show a meek man - Prince Myshkin. On the other hand, Dostoevsky poses the question: if Russia is an Orthodox power, if Russians consider themselves Orthodox, then have they preserved Orthodoxy, are they truly Orthodox? Are they ready for the Second Coming of Christ - that is the question. If they are God’s chosen people and if the Russian idea is to preserve Orthodoxy until the Last Judgment, then did they preserve it or not? Let's say in Crime and Punishment we see relatively healthy society, I emphasize - relatively healthy society and two sick people - Svidrigailov and Raskolnikov, then, say, in The Idiot - on the contrary: there are two relatively healthy person. It turns out: Nastasya Filippovna and Prince Myshkin - two relatively healthy person and absolutely sick society. Dostoevsky shows: who can accept Christ if society is sick?

Dostoevsky shows: who can accept Christ if society is sick?

And, of course, the pinnacle of the writer’s work is “The Brothers Karamazov”, with the main question: where is salvation - in the world, in the Church or between the world and the monastery, like Alyosha Karamazov? But this is an unfinished work, because three brothers appear in it and, according to Dostoevsky’s plan, a novel should have been dedicated to each of them, and in general it should have been a trilogy. And, accordingly, in each of these novels a dominant idea was assumed. The written novel is dominated by Ivan Karamazov, with his rationalism and rational consciousness. In the second - Dmitry Karamazov, with his passions. The third novel was supposed to be about Alyosha and the spiritual development of himself, society, other characters, and the reader.

You see, the question is not even what to read, the question is how to read. Because in every writer we can find works that are very strong and very weak. This is natural: every person is capable of ups and downs, mistakes and achievements. Of course, in order to reduce the time spent searching for the necessary works to some extent, it is better to ask a mentor, a teacher, or a lecturer for advice on what to read. But I repeat: from every writer we can find absolutely wonderful works, but the most important thing is how we read them.

The path to the ideals of Holy Rus'. Remembering the Holy Prince

On July 15/28, on the day of remembrance of the Holy Equal-to-the-Apostles Prince Vladimir, the celebration of the Day of the Baptism of Rus' was established in Russia and Ukraine. The Equal-to-the-Apostles Prince was not only an educator and baptist, he was a loving father for his people, who moved them with his sovereign hand on the path to the Kingdom of Heaven. But what about these days? In what and how can people in power today imitate the holy prince in order to bring their people closer to the ideals of Holy Rus'? How and how can we all truly honor the memory of the holy prince in our lives, our actions and deeds?

Diploma specialty:

Teacher of Russian language and literature

Diploma qualification:

Teacher

Training:

IPCC, 2018

Places of work:

Since 1989, scientific work at the Institute of World Literature named after. M. Gorky Academy of Sciences of the USSR,
Since 1992 - teaching.
Professor at Moscow State Linguistic University (1992-2012).
Dean of the Faculty of Philology and Vice-Rector for Scientific Work of the State Academy of Slavic Culture (1996-2006).
Vice-rector for scientific work and professor of the Literary Institute named after. A.M. Gorky (2006-2016).
Professor, National Research Nuclear University MEPhI (since 2014)
Professor at Sretensky Theological Seminary (since 1999).
Head of the Center for Fundamental Research of Russian Medieval Culture, Russian Research Institute of Cultural and Natural Heritage named after. D.S. Likhacheva.
Full member (academician) of the Academy of Russian Literature.
Member of the Bureau of the Scientific Council for the Study and Protection of Cultural and Natural Heritage of the Russian Academy of Sciences.
Member of the Society of Researchers of Ancient Rus'.
Member of the Science Council under the Ministry of Culture of the Russian Federation.
Member of the Union of Journalists of the USSR and the Union of Writers of Russia.

Initiator of the creation and first executive director of the “Society of Researchers of Ancient Rus'” at the Institute of Literature of the USSR Academy of Sciences.
Editor-in-chief of the journal "Bulletin of MGUKI", editor-in-chief of the magazine "Culture and Education", member of the editorial board of "Bulletin of the Kemerovo State University of Culture and Arts" and "New Philological Bulletin", member of the editorial board of the series "Religious and philosophical heritage of Ancient Russia" (IP RAS ), member of the editorial board of the literary and journalistic almanac “Ruslo” (St. Petersburg), etc.
Author and presenter of the program about Russian literature “Time Factor” on the Prosveshchenie TV channel (since 2011),
author of lectures on TV “Culture” in the program “Academy” (since 2011).
Gave lectures at Moscow State University. M.V. Lomonosov, Moscow University of Physics and Technology (MIPT), Ilya Glazunov Academy of Painting, Sculpture and Architecture, Baltic Federal University (Kaliningrad), Kemerovo State University, Tomsk Pedagogical State University, University of Tokyo (Japan), Kyoto University (Japan), Charles University (Czech Republic, Prague), University of Palermo (Italy), Lviv National University (Ukraine), etc.

Awards and achievements:

Laureate of the All-Russian Orthodox Literary Prize named after the Holy Blessed Prince Alexander Nevsky;
Laureate of the All-Russian Historical and Literary Prize "Alexander Nevsky",
Laureate of the Literary Prize named after. A.S. Griboyedova;
Laureate of the Literary Prize named after. A.P. Chekhov,
Laureate of the Union of Eurasian Writers “Literary Olympus”.

Main scientific publications, educational publications:

Specialist in the field of literature, history and culture of Ancient Rus'. He is responsible for research on the new dating of “The Tale of Law and Grace”, “The Life of Theodosius of Pechersk”, “Readings about Boris and Gleb”, “The Tale of Boris and Gleb”, “Tales of Igor’s Host”, “Tales of the Destruction of the Russian Land” , “The Tale of the Life of Alexander Nevsky”, “The Chronicler of Daniil Galitsky”, etc.

He proposed a new concept for understanding ancient Russian chronicles, linking it with the eschatological ideas of Russian medieval scribes; discovered traces of the influence of the biblical “Book of the Prophet Jeremiah” on “The Tale of Igor’s Host”; reinterpreted “The Tale of Peter and Fevronia of Murom”; studied the evolution of the image of nature in ancient Russian literature and iconography; history of the genre of ancient Russian stories, etc.

He developed a theory of the staged development of Russian literature from the 11th to the first third of the 18th century and a theory of literary formations of Ancient Rus'.

Russian everyday story of the 15th – 17th centuries. M.: Soviet Russia, 1991;

Reader on ancient Russian literature of the 11th – 17th centuries. M.: Russian language, 1991;

A.M. Remizov. Essays. In 2 volumes. M.: Terra, 1993;

On the principles of constructing the history of Russian literature from the 11th to the first third of the 18th century. M., 1996;

From lectures on the history of Russian literature of the 11th – first third of the 18th century: “The Word about Law and Grace.” M., 1999;

On the problems of periodization and the specifics of the development of Russian literature of the 11th - first third of the 18th centuries. Kaliningrad, Russian State University named after. I.Kanta, 2007;

Stage-by-stage development of Russian literature of the 11th – first third of the 18th century. Theory of literary formations. M., 2008;

On the specifics of the development of Russian literature from the 11th to the first third of the 18th century. Stages and formations. M., 2009;

Problems of historiography and textual criticism of ancient Russian monuments of the 11th-13th centuries. M., 2009;

The story of Peter and Fevronia of Murom. M.: Scholiya, 2009;

Historical poetics of ancient Russian literature. Genesis of literary formations. M., 2011;

“The Sermon on Law and Grace” and other works of Metropolitan Hilarion of Kyiv. M., 2014;

“The Tale of Igor’s Campaign” and its era. M., 2015.

Disciplines:

History of Russian literature (Old Russian period),
“Picture of the World” by an Old Russian scribe