Grandmothers, grandmothers, literary and ours! Start in science The image of a grandmother in works of Russian literature presentation.

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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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

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.

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 Bagrov’s grandson or Vitya Potylitsyn an exact copy of one character - the writer himself who created them. And the stories in which these heroes act are different from one another, and the heroes themselves, who embody different author’s goals, are different and if they are similar in any way, then perhaps in their lyricism.

Astafiev's heroes are overwhelmingly his contemporaries. Their spiritual growth, their experiences and shocks 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 manners of Russian literature are to write characters and circumstances of life, and not to force shocking, “postmodern” plots out of nothing, out of much reflected light, in literary salons.

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.

Chapter 1. Grandmother - an artistically 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 dialectic of the soul, the “purity of moral feeling,” Gorky’s “cruel” realism, Bunin’s subtle lyricism, and Shmelev’s spirituality of objects and everyday details are perceptible. But the plot and 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.

The most charming, most significant, convincing and captivating image that runs through the entire story “The Last 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, cool when necessary, stern and decisive, but invariably full of kindness and inexhaustible optimism.

In the story “The Horse with a Pink Mane”, having dishonored his grandmother by deceit (the strawberry incident), Vitka awaits 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: “A white horse with a pink mane was galloping on pink hooves across a scraped kitchen table, as if across a vast land, with arable lands, meadows, and roads.”

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 gingerbread) into the language of “unofficial pedagogy,” as A. Lanshchikov does, 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 or 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. That’s why: “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 - that marvelous horse with a pink mane.”

In order to better understand the awareness of students at our school on the issue of associations associated with the word “grandmother,” we conducted a survey. As a result, a generalized portrait was created. So, grandmother - kindness, care, old age, neatness, wisdom, knowledge of medicinal herbs, wrinkles, in a scarf, pies, affectionate, fair, with glasses, prayer, gray hair, kind wrinkled, hard-working hands, fairy tales, a 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 borax to warm up my insides, and pickled lingonberries.”

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.

V. 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, where it is openly said about the purpose of art and the sanctity of a great feeling for the homeland. Here - in the chapter “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.

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 songs perceived by the boy are so physically tangible that they cannot but be transmitted to us, and his poetic mode itself speaks of the boy’s emotionality and of the true place of song art in the peasant environment:

“For some reason, my back immediately began to ache, 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 as if the blood thickened and stopped in my veins.”

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 folded dark gramophones, dropped dried petals on the window, waited in the wings to please people.”

Here is V. Kurbatov’s opinion in relation to the image of Ekaterina Petrovna: “The main character of “Bow” is Vitka’s grandmother Ekaterina

This is precisely why Petrovna will become our common Russian grandmother, because she will gather in herself, in a rare living completeness, everything that is still left in her native land of the strong, hereditary, primordial native, which we, with some kind of extra-verbal instinct, recognize as our own, as if we all shining 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 and suffers for her grandchildren,

10 bursts into anger and tears, and begins to talk about life, and now, it turns out, there are no hardships in it for grandma.”

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.

Chapter 2. Folk sayings 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”

The homeland is dear to the heart not for its local beauty, 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

It is known that sometimes works of art provide more material, factors for thought, for understanding a historical period than other scientific research. “The Last Bow” belongs to such books. This is a kind of encyclopedia of the Siberian village of the thirties of this 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 about the native 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.”

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 and 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, 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,” the author returned to it in print—no, he didn’t 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 began to speak with proverbs, proverbs, sayings, aphorisms, or decorated their speech with fancy verbal figures.

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 “he looks at the forest - the forest withers”, “the navel is a knot, the legs are round, the spirit of bread is a plowman, a plowman!”, “A husband and wife are one Satan” (“Grandma’s Holiday”). Distorted commonly used, dialect words, peculiar folk expressions, signs, sayings: “rematism” (rheumatism), “pretty” (better), “tutoka” (here, here), “andelas”

(angels), “don’t get cold” (don’t 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”).

Having gone to the festival “Astafievskaya Spring - 2008, 2009, 2010”, we interviewed workers of the library - museum of V.P. Astafiev in Ovsyanka, residents of the village itself about the role of folk sayings 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.” They are all unanimous in their opinion that the image of the grandmother is the leading image in the stories “Grandma’s Holiday”, “The Photograph in which I am not”, “The Horse with a Pink Mane”. Having visited the house-museum of grandmother Ekaterina Petrovna and talked with the writer’s cousin G.N. Krasnobrovkina, we seemed to feel the presence of the mistress of the house with her orders and covenants, so we wanted to see our grandmothers with their jokes, teachings, which we sometimes take offense at without any reason reason. It’s a pity that my grandmother is no longer here, but when reading the stories of V.P. Astafiev, I imagine her eyes, the little laughs in the corners of her mouth when reading fairy tales to me before bed.

Conclusion

Having studied the material on the work of V. P. Astafiev, it should be noted that:

In the writer’s works “Grandma’s Holiday”, “Photograph in which I am not in”, “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 her 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 a kind word.

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)