Their novels of education have one thing in common. Genre models of the travel novel and the novel-education of feelings in the works of F

As a manuscript

PLUZHNIKOVA YULIA ALEKSANDROVNA

I. A. GONCHAROV’S NOVEL “ORDINARY HISTORY” AND “NOVEL OF EDUCATION” IN RUSSIAN AND GERMAN LITERATURE OF THE 18th-19th CENTURIES: EVOLUTION OF THE GENRE

Dissertations for the degree of candidate of philological sciences

Ulyanovsk -2012

The work was carried out at the Federal State Budgetary Educational Institution of Higher Professional Education "Ulyanovsk State Technical University"

Scientific supervisor: Dyrdin Alexander Alexandrovich

Doctor of Philology, Professor

Official opponents: Sapchenko Lyubov Aleksandrovna

Doctor of Philology, Professor of the Department of Literature, Ulyanovsk State Pedagogical University named after I. N. Ulyanov

Belova Olga Pavlovna

Candidate of Philological Sciences, Senior Lecturer at the Department of Journalism, Ulyanovsk State University

Leading organization: Volzhsky Humanitarian Institute (branch)

FSBEI HPE "Volgograd State University"

The defense of the dissertation will take place on May 21, 2012 at 14:00 at a meeting of the dissertation council KM212.276.02 for the award of the academic degree of Candidate of Philological Sciences at the Ulyanovsk State Pedagogical University named after I. N. Ulyanov at the address: 432700, Ulyanovsk, area 100- Legia since the birth of V.I. Lenin, 4.

The dissertation can be found in the library of the Ulyanovsk State Pedagogical University by I. N. Ulyanov.

Scientific Secretary

dissertation council /^1/

¿¿(_ M. Yu. Kuzmina

GENERAL DESCRIPTION OF WORK

The relevance of research. The legacy of I. A. Goncharov - a classic of Russian literature - today is increasingly attracting the attention of domestic and foreign literary scholars. Against the backdrop of growing interest in the study of the national literary process, the place and role of Goncharov in it, and in connection with the 200th anniversary of the writer, the study of his work has become one of the constantly developing areas in the modern science of literature. With all the diversity of scientific strategies, there remain many unsolved problems that involve consideration of the aesthetics and poetics of the writer, and, in particular, issues of genre typology.

In modern research, there has been a significant revision of views on the genre of Goncharov’s novel “An Ordinary Story” (1847-1848). If earlier the writer’s work was considered in the context of social issues, then in recent decades his novels have been characterized as philosophical, moral and psychological.

A new look at the novel was proposed by E. A. Krasnoshchekova, defining the form of the “novel of education” as a genre close to the creative consciousness of the writer. This form was actively used by European writers starting from the second half of the 18th century. In Russia, the founder of this genre was N. M. Karamzin with his novel “A Knight of Our Time.” In the context of solving the scientific problem posed - determining the genre specificity of the first novel by I. L. Goncharov - the conclusions and observations of E. A. Krasnoshchekova, V. I. Melnik, V. A. Nedzvetsky are important, on whose concepts the dissertation author relies in his work.

The dissertation was tasked with identifying the typological features of the “novel of education” genre in “Ordinary History.” Despite the fact that the works of a number of scientists have been devoted to this problem, the definition of the genre nature of I. A. Goncharov’s first novel needs to be adjusted.

The purpose of this study is to study the genre specificity of Goncharov’s novel “An Ordinary Story,” primarily the typological features that connect it with the Bildungsroman genre and that are dissimilar to it.

To achieve this goal it was necessary to solve the following tasks:

1) to identify the origins of the formation of the writer’s aesthetics at the initial stage of his work (40s of the 19th century);

2) study the moral and ethical views of the writer, his attitude to the problem of education and personal development;

3) consider the works of domestic and foreign researchers of Goncharov’s work and the principles of studying the typological features of the genre of “novel of education” in the aspect of modern theory of the genre;

4) systematize the theoretical observations of domestic and foreign literary scholars related to the development of the “novel of formation” model (Bildungsroman-model) in “Ordinary History”;

5) complement the existing concepts of “Ordinary History”

characterization of the genre content of the novel based on its connection with the domestic novel tradition, emerging in the first third of the 19th century, and national moral ideals.

The object of the study is the early work of the writer in the context of literary ideas of the 18th - first decades of the 19th century.

The subject of the study is the continuity of the genre of the novel about education and its creative transformation in “Ordinary History” by I. L. Goncharov.

The scientific novelty of the study lies in the consideration of the genre innovation of the novel “An Ordinary Story”, in the context of the ideas of social progress, the ethics of positivism, and the line of educational novel emerging in Russian literature, which is different from the European model.

The following provisions are submitted for defense:

1. In his work, I. A. Goncharov was able to synthesize the traditions of Russian and foreign literature, based, first of all, on the historical consciousness of his people, the aesthetic experience of N. M. Karamzin,

V. T. Narezhny, A. S. Pushkin, creative achievements of writers and thinkers of Europe.

2. The formation and development of Goncharov’s artistic worldview was facilitated by the philosophical, political and socio-historical ideas of I. I. Davydov, N. I. Nadezhdin and

S. P. Shevyreva.

3. The system of ideas that Goncharov developed in the 1830s about morality and morality, about the history and forms of growth of the human personality, determined the writer’s creation of a work in the genre of “novel of education,” which became the initial link in the evolution of his work.

4. The specificity of Goncharov’s “novel of education” genre was the unity of description of everyday life and morals, showing the spiritual development of the young hero in conjunction with the natural principles of national life.

5. Typological features of Goncharov’s novel, original genre-constructive solutions allow us to consider “An Ordinary Story” a modification of the novel about the moral, social and psychological formation of the protagonist’s personality.

The theoretical and methodological basis of the research is the fundamental works of the classics of comparative historical literary criticism A. II. Veselovsky, V.M. Zhirmunsky, M.M. Bakhtin, M.P. Alekseev, Yu.M. Lotman, as well as works of a theoretical and literary nature (M.M. Bakhtin, V.I. Kuleshov, V.V. Kozhinov, B. P. Gorodetsky, E. I. Semenov, G. K. Shchennikov, E. A. Demchenkova, etc.)

The dissertation used research by domestic literary scholars devoted to the study of the life and work of Goncharov (P. S. Beisov, N. I. Prutskov, O. G. Postnov, V. A. Nedzvetsky, M. V. Otradin, V. I. Melnik ), as well as works related to the analysis of the genre of “novel of education” in Russian and German literature (L. I. Rubleva, V. N. Pashigorev, E. A. Krasnoshchekova).

The works of foreign researchers (V. Sechkarev, V. Bruford, G. Diment, P. Tupien, A. Huwiler), to whom the dissertation author turned, also largely prepared a new interpretation of the genre nature of the novel.

During the study, typological, comparative-historical, descriptive and structural research methods were used.

The scientific and practical significance of the dissertation lies in the possibility of its use in research work, as well as in university practice: in lectures, special courses and seminars on the history of Russian literature of the 19th century.

Approbation of work. The results of the study were presented at the annual reporting scientific conferences of the teaching staff of Ulyanovsk State Technical University (2007-2012), at the All-Russian scientific and practical conference “Russia and the world: History, culture, regional studies” (Ulyanovsk, 2008), the International scientific conference “Literature and culture in context of Christianity. Images, symbols, faces of Russia" (Ulyanovsk, 2008), International scientific conference "Images of Russia in scientific literature. Og "Sermons on Law and Grace" by Metropolitan Hilarion to "Pyramid" JI. M. Leonov: movement towards a multipolar world" (Ulyanovsk, 2009), International scientific conference "Artistic and philosophical models of the universe in the works of L. M. Leonov and in Russian literature of the 19th - early 21st centuries" (Ulyanovsk, 2011). The dissertation materials were published in 8 scientific articles, including 1 article presented in a leading peer-reviewed scientific journal recommended by the Higher Attestation Commission of the Russian Federation.

The structure of the work is determined by the goals and objectives of the study. The dissertation consists of an introduction, 3 chapters, a conclusion and a bibliography that includes 320 titles. The total volume of work is 162 pages.

The Introduction characterizes the degree to which the genre specifics of I.A.’s novel have been studied. Goncharov’s “Ordinary History”, the goals, objectives, object and subject of research, relevance, scientific novelty, practical significance of the work are determined, and the provisions put forward for defense are formulated.

Chapter one, “The worldview of the writer of the 30-40s of the 19th century and the origins of its formation,” analyzes the philosophical, aesthetic and ethical views of the writer during the period of writing the novel “Ordinary History.”

Paragraph one, “Philosophical views of I. A. Goncharov,” is devoted to the study of the system of aesthetic and philosophical views of the writer of the 30-40s of the 19th century. One of the first who contributed to the formation of the writer’s ideological principles were teachers of Moscow University N.I. Nadezhdin and S.P. Shevyrev.

During his university years, I. A. Goncharov developed a strong interest in history, not only in the 18th century, but also in the ancient era. Among

numerous thinkers whose works the future novelist was interested in were I.-I. Winckelmann (1717-1768).

In the knowledge and perception of art, Winckelmann called for harmony and integrity. He argued that “beauty consists in the harmony of parts, the perfection of which is manifested in a gradual rise and fall and, therefore, acts on our feelings evenly, carrying it along with it gently, and not with sudden impulses.”1 It can be assumed that Winckelmann’s judgments, which he applied to art, formed the basis of Goncharov’s principle of the smooth passage of stages in a person’s life, which he transferred to literature, applying it to depicting the life path of his characters.

As you know, Goncharov proved himself to be a writer with a historical outlook on life. The novelist tried to objectively show the inevitability of social change. He analyzed historical events using a dialectical method borrowed from 18th-century German philosophy. The novelist perceived time as “the flow of historical life, the movement of time, the change of times”2.

Speaking about the peculiarities of Goncharov’s worldview in the 30-40s of the 19th century, it is necessary to recall the philosophy of G.-V.-F. Hegel. The German philosopher believed that history is important for a writer as a means of education. He tried to dialectically combine the history of the development of education and the history of human civilization. Hegel saw the influence of cultural and historical conditions on the process of formation of the individual: “every person is the son of his time and his people”3. It is education, according to Hegel, that encourages the individual to actively participate in the cultural life of society, interaction with which, in turn, contributes to the formation of the individual.

In addition to N.I. Nadezhdin, whose aesthetic views significantly influenced Goncharov, S.P. Shevyrev contributed to the formation of the artistic concept of the future writer. His interest in the art of words was combined with an attempt to explain literary phenomena from a historical point of view. This shows the influence of the German writer I.-W. Schiller, who believed that every nation should take a special place in the world literary process and its literature should reflect the characteristics of folk culture and spirituality.

The critic argued that the spiritualization of the world and man is a distinctive feature of Russian literature, and it manifests itself, first of all, in the word.

Goncharov's philosophy is complex. The formation of the writer’s ideological principles was influenced by both the ideas of Western philosophers and domestic thinkers, bearers of primordially Russian

"Winkelman I.-I. Selected works and letters. - M.: Ladomir, 1996. - P. 228-229.

2 Melnik V.I. Ethical ideal of I.L. Goncharov. - Kyiv: Lybid, 1991. - P. 8.

3 Hegel. Philosophy of law. - M.: Mysl, 1990. - P. 55.

outlook on life. In the process of forming philosophical ideas, Goncharov formed an original view of literary creativity. The author at this time was at the beginning of his search for a genre model. Working on the concept of “An Ordinary History,” he combined (to a certain extent) the “novel of education” with the forms of autobiographical and family novels that were quite developed in the Russian tradition.

In paragraph two “I. A. Goncharov and domestic writers of the late 18th - early 19th centuries” explores the views and literary tastes of the writer, tracing his connections with the work of Fonvizin, Karamzin, Pushkin, Narezhny.

The education received at Moscow University laid the foundation for the future novelist’s literary activity and paved the way for its further development. Listening to lectures from teachers and studying the works of popular authors, he was able to synthesize the searches of writers of two eras: the second half of the 18th century. and the beginning of the 19th century. The knowledge gained at the university helped Goncharov not to get lost in the vast world of literature. “In St. Petersburg, carefully studying foreign literature, I already regulated my studies according to the method and according to the instructions that were taught to us at the university by our<...>favorite professors,”4 writes Goncharov, recalling his university years. There is no doubt that he took seriously not only foreign literature, but also carefully studied works of his native literature. Among the masters of the Russian word that Goncharov was engrossed in were, of course, D. I. Fonvizin, N. M. Karamzin, I. A. Krylov, A. S. Griboedov, L. S. Pushkin, V. T. Narezhny.

The influence of D. I. Fonvizin on the work of the future novelist was noted by many critics and writers, starting with Belinsky. He, analyzing the female images of Aduev’s mother and Nadenka Lyubstskaya, noted in his article “A Look at Russian Literature of 1847” the roll call of the characters in Fonvizin’s comedy “The Minor” and the characters in Goncharov’s novel “An Ordinary Story”: “these are two completely different faces: one is a provincial lady, of the old century, reads nothing and understands nothing except the trifles of the household: in a word, the good granddaughter of the evil Mrs. Prostakova; the other is a metropolitan lady who reads French books and understands nothing except the little details of the household: in a word, the good great-granddaughter of the evil Mrs. Prostakova.”5

There is no doubt about the influence of the personalities and creativity of P.M. Karamzin and A.S. Pushkin on Goncharov’s literary and aesthetic position. There is evidence of this both in his personal letters and in following the literary traditions of these outstanding artists of the word. This influence is indicated by figurative reminiscences from their works in the writer’s novels.

4 Goncharov I. A. At the university // Goncharov I. A. Collected works: in 8 volumes - M.: Pravda, 1954. - T. 7. - P. 222.

5 Belinsky V. G. “A look at Russian literature of 1847” // Collection. cit.: in 3 volumes - M.: OGIZ, GIHL, 1948. - T. 3. - P. 34.

Karamzin, who created the aesthetics of Russian sentimentalism, was the forerunner of the “sensitive” line in Russian literature. At the beginning of “An Ordinary Story,” Alexander Aduev represents a type of sentimental hero. Goncharov caught the typical manifestations of the character of the character first created by Karamzin. He begins his work in line with sentimentalism, continuing to develop this imagery in new conditions. The novelist showed that the type of person characteristic of sentimentalism with idyllic views on life, the hero who grew up in a patriarchal-feudal environment, turns out to be unviable in modern society with its impersonality of human relations.

It is known that Pushkin was Goncharov’s idol. Even during his university years, the future writer enthusiastically read the works of the poet who was at the zenith of his fame: the novel “Eugene Onegin”, the poem “Poltava”.

V. I. Melnik in the article “A. S. Pushkin in the life of I. A. Goncharov”6 suggests that, under the influence of Pushkin’s poetry, the writer begins to try himself in poetic forms, later including them in the first novel as the first literary experiments of the main character. The novelist's first poems are full of motifs inherent in Russian poetic romanticism of the early 30s of the 19th century.

The most “influential” creator who gave impetus to the creation of Goncharov’s first novel was V. T. Narezhny. Despite the exposure of social vices in his works, Narezhny was not a supporter of radical political and social changes. He is a supporter of personality correction through educational methods. The main artistic principles in his early works were rationalism and didacticism, characteristic of Russian literature of that time as a whole. Later, in Narezhny’s novels, there is a predominance of educational and didactic pathos, for example, in the novel “Aristion, or Re-education”7, in which echoes of the “novel of formation” genre are visible. A distinctive feature of this novel was the depiction of not only the vices of an individual, but also the negative aspects of the life of the entire aristocratic society.

Narezhny stands at the origins of the domestic “novel of education”, therefore, speaking about the evolution of the “classical” version of the educational novel in Russia, it is necessary to note his contribution to the formation of this genre.

In paragraph three, “The Ethical Concept of the Writer,” Goncharov’s system of ethical views is studied, the origins of which must be sought in his biography.

By the time he wrote “Ordinary History,” Goncharov had already formed his own idea of ​​a balanced education system. Openly philosophical reflections on issues of education in the first novel

6 See: Melnik V.I.L.S. Pushkin in the life of I.A. Goncharov |Electronic resource|. -Access mode: http://wwwлvan-gonchagov.ru/kr¡tika/melmk6.shtml.

7 See: Grikhin V. A., Kalmykov V. F. Creativity of V. T. Narezhny // Narezhny V. T. Favorites. - M. Soviet Russia, 1983. - P. 5-24.

the reader does not meet, but the writer certainly mentions the education of the heroes of the novel, the gradual knowledge of the concepts of good and evil, which, in fact, constitutes the process of educating a person’s personality.

Later, in a letter to E. A. and S. A. Nikitenko, Goncharov will write that the education of a future personality should be carried out in accordance with human nature - a principle possibly adopted from the pedagogical works of J. J. Rousseau: “the progress of education should consist precisely... ... is to monitor and recognize the child’s abilities and prepare him for what he is inclined to, and whoever is inclined to what will find happiness in that work.”

The same tendency can be found in the work of the outstanding teacher of the second half of the 19th century, L. N. Modzalevsky, “Essay on education and training from ancient to modern times”: “First of all, one must examine the personality of the pet, and based on it, apply all educational and educational measures. The task of moral education is precisely to teach children self-control and self-sacrifice. Children’s mistakes and misdeeds should not be ignored, because over the years they also grow and turn into vices.”5

In one of Goncharov’s autobiographies one can read: “Mother did not love us with that sentimental, animal love that is poured out in hot caresses, in weak indulgence and servility to children’s whims and which spoils children. She loved intelligently, relentlessly following our every step, and with strict justice distributed her sympathy equally among all four of us children. She was exacting and did not let a single prank pass without punishment or reprimand, especially if the prank contained the seed of future vice.”10 Since childhood, the writer has become accustomed to the fact that education should be aimed at developing morality and a sense of virtue. And although Goncharov’s mother did not receive an education and did not read pedagogical works, she was an intelligent woman who gave a good education to her children.

The problem of education occupied a special place in Russian life in the 30s and 40s of the 19th century. Not only teachers, but also writers and public figures discussed it. Goncharov participated in solving this problem, first of all, with his novels. In each of the novels of his trilogy, the problem of education occupies a central place. In “An Ordinary Story,” the upbringing given to Alexander Aduev by his mother did not prepare him for real life in St. Petersburg. Not fitting into St. Petersburg society, the main character goes through the “school” of his uncle, who tries to set him on the “true path.” At first, Aduev Jr. takes the lessons of Aduev Sr. with hostility, but, without noticing it, he is gradually re-educated under the guidance of his mentor and joins the circle of businessmen in St. Petersburg. Alexander becomes a business man, practical and rational.

8 Goncharov I. L. Collection. op. in 8 volumes. T. 8. - P. 290.

9 Modzalevsky L. II. Essay on education and training from ancient times to our times. -SPb.: Martynov, 1867. - P. 353.

10 Goncharov I. A. Collection. op. in 8 volumes. T. 7. - P. 235.

In the romance "Oblomov" the main character remains faithful to his upbringing, received in a patriarchal provincial family. Despite the changing conditions of metropolitan life, the hero does not deviate from his convictions, maintaining in the alien world of St. Petersburg an aura of home, feelings of peace, comfort and family happiness that are unusual for metropolitan society. However, he, like the hero of the first novel, faces the problems of a “new life” and remains misunderstood by others in his desire for the warmth of home.

In his third novel, “The Precipice,” Goncharov shows the clash of two types of education: the new European and the old patriarchal. Vera, the eldest granddaughter of Tatyana Markovna, who received a European education, fails to adapt to the conditions of the patriarchal world. But she can no longer return to her former self: the worldview and culture that arise in new life circumstances do not allow her to do this. The conflict between the everyday life of the “old times”, its spiritual content, and the values ​​of progress becomes one of the main ones in Goncharov’s novels related to the theme of the moral development of the individual.

Goncharov, showing all the positive and negative sides of both the patriarchal and European types of education, throughout his work proclaims the harmony of the new and the old. Goncharov called for taking the best from the experience of world culture, without rejecting his native ways of life and faith.

Goncharov expresses his view on issues of education in a critical article about A. S. Griboedov’s play “Woe from Wit.” Analyzing the image of Sophia, the writer says that her moral character was influenced by the moral principles that dominated society and those around her father. Although by her nature Sophia is by no means immoral and “she has strong inclinations of a remarkable nature, a lively mind,” she became a “victim” of the trend of the times. The writer attributes all of Sophia’s shortcomings to her upbringing.

All his life, Goncharov strove for some ideal image of a person, but did not forget about the shortcomings and flaws of human nature.

Chapter two “History of the genre of “novel of education”” is devoted to the consideration of the theoretical foundations of the genre of “novel of education” in German and Russian literary criticism, the study of the typological features of the genre of “novel of education” and the analysis of scientific controversy around the definition of the genre of Goncharov’s novel “Ordinary History”.

The first paragraph, “The Origin of the Term “Bildungsroman”,” traces the history of the emergence of the term and genre form Bildungsroman in Western European literature.

For the first time, the term “novel of education”11 began to be used in his works

“In literary criticism, the term “VPs1igshch5gotan” is used both as a “novel of education”, and as an “educational novel”, and as a “novel of formation”.

Dorpat professor of aesthetics Karl Morgenshtsrn12 in the 20s of the 19th century in the process of analyzing the novel by I.-V. Goethe "The Years of Wilhelm Meister's Study" (1795-1796). According to the scientist, VPs11^5gotan differs from other varieties of the genre, firstly, in theme, since the process of developing the character of the hero is shown here from the first years of his life until a certain stage of growing up, the moral virtues that the main character gradually acquires in the process of his inner life are described. development, and ways to acquire them. Secondly, a characteristic feature of this genre is the rather greater degree of influence of the work on the education of the reader in comparison with any other type of novel.

K. Morgen Stern suggests calling a work an “educational novel” if there is a system of events described in the novel that contribute to the ethical education of the reader, although initially the didactic task was not set in the novels, the objective goal of the writer was to depict the main character and the process of developing his character. A skillful description of educational history was presented in the form of a conversation. This typological feature, highlighted by the German scientist, was fully embodied in Goncharov’s first novel “Ordinary History” in the dialogues of Aduev Sr. and Aduev Jr.

According to modern researchers of the “novel of education” genre, this epic form took shape during the Enlightenment, but its further development occurred at the turn of the 19th-19th centuries, and in the first decades of the 19th century, when the aesthetics of romanticism took shape in European literature13. The further development of the novel genre led to the emergence of many of its varieties in the literature of different countries. Nevertheless, most researchers develop the poetics of the “novel of education” using examples of German literature, since it was this literature that provided the classic examples of the “novel of formation.”

In paragraph two, “The evolution of the “novel of formation” in Russia and Germany,” the genesis and evolution of the “novel of education” in German and domestic literature is traced.

In the definitions of the “novel of education” genre that exist in scientific literature, the main emphasis is on the process of formation of the main character, but an important point is the writer’s study of the development of his psychology, transitions from one thought to another, the inclusion of new visual means in the traditional system of poetics of the “novel” genre education."

As for the origins of the genre of the novel of education, then, as stated by

12 Morgenstern K. Zur Geschichte des Bildungsromans. - Tartu, 1820. - S. 13-27; Ober das Wesen des Bildungsromans. - Tartu, 1820. - S. 46-61.

13 See about this: Pluzhnikova, Yu. A. The problem of determining the genre of I. A. Goncharov’s novel “Ordinary History” in Western Slavic Studies // Literature and culture in the context of Christianity. Images, symbols, faces of Russia: materials of the V International Scientific Conference. - Ulyanovsk: Ulyanovsk State Technical University, 2008. - P. 190-195.

M. M. Bakhtin14, they should be looked for in ancient literature. In his classification of novel genres, based on the principle of chronotope, the scientist identified the “biographical novel,” which created a model of “biographical time” and a new concept of the hero. He finds the origins of such a narrative in ancient texts setting out the biography or autobiography of a hero, who, as a rule, was a real person. The hero's inner life was manifested in external actions. A specific feature of such works lies in their didacticism and openly instructive tendencies.

The formation of the genre of “novel of education” was influenced by both medieval novels of wanderings and novels of trials, the characteristic feature of which was the absolute static image of the hero, but in the novels of trials the image of the protagonist was complicated. Later, an element of psychologism is added to the novel structure, which, however, does not contribute to a detailed depiction of changes in the character of the hero, the dialectics of his consciousness.

Despite the fact that VMigshchgotaman came to Russia quite late, the soil for it was fertile. The fact is that moralizing traditions were characteristic of ancient Russian literature throughout all the centuries of its existence. The first independent attempt to create a “novel of formation” at the very beginning of the 19th century was “A Knight of Our Time” (1803) by N. M. Karamzin. However, due to historical and cultural conditions, writers’ interest in this type of genre faded for some time. Renewed interest in this type of novel occurred in the late 30s and early 40s. At the same time, Russian writers began to read books by German writers and philosophers.

Of all the trends that existed in Western literature in the period from the mid-18th century. Until the 19th century15, Russian literature adopted, first of all, the “Goethean” tradition. Young Goncharov came to literature at a time when Russian literature was already under the influence of the work of German authors. He read their works in the original and translated them from German. The edifying intonation is especially evident in these books. The narration was conducted from the 3rd person (in the dilogy about Wilhelm Meister Goethe, for example). The author acts here as an observer and judge, whose point of view on the process of education dominated the work. The same form of narrative was chosen by Goncharov in Ordinary History.

In paragraph three, “Typological features of the genre of the “novel of formation”,” the works of M. M. Bakhtin16, V.N. Pashigorev17,

14 Bakhtin M. M. The novel of education and its significance in the history of realism // Aesthetics of verbal creativity. - M.: Art, 1979.-S. 190-191.

15 15 Western literature there were several directions in the development of the genre: “Goethean”, “Rousseauian” and “Dickenian”. See: Krasnoshchekova E. A novel of education - GMYig^gotap - on Russian soil: Karamzin. Pushkin. Goncharov. Tolstoy. Dostoevsky. - St. Petersburg: Pushkin Foundation Publishing House, 2008. - pp. 11-13.

16 See: Bakhtin M. M. Decree. op. - pp. 188-236.

17 See: Pashigorev V.N. Novel of education in German literature of the 18th-20th centuries. -Saratov, 1993.- 144 p.

E. Krasnoshchekova18, dedicated to the history of the “novel of education” genre, establishes its general typological features.

M. M. Bakhtin played a significant role in the development of theoretical issues of the Bildungsroman genre and its typology. It was he who laid the scientific basis for research into the genre specifics of the “novel of education.” Bakhtin believed that the “novel of formation” was the last “pure” genre in the system of European gradation of genre varieties of epic.

Bakhtin based the classification of novel genres on the principle of chronotope, which, in his opinion, determines the genre nature of a work. In addition, he draws attention to the history of the emergence of this genre in European literature, explaining this process by the peculiarities of the worldview of a person during the Enlightenment. It was at this time that writers began to depict man in the process of evolution. Temporal and spatial coordinates come to the fore. The authors of the novels strive to show how time changes a person, to connect the reproduction of the maturation of the individual with spiritual factors. Goncharov, testing various schemes of the novel - romantic, sentimental - developed original features in his first novel, does not speak out about the hero's upbringing, but depicts the movement of character discretely, focusing the reader's attention on the turning points in the character's inner life.

A modern researcher of this problem, V.N. Pashigorev, in his dissertation “The Novel of Education in German Literature of the 18th-20th Centuries. Genesis and Evolution" (2005) examines the specific features of the "novel of education", using works of German literature as a genre example.

Firstly, he considers the process of education to be a structure-forming element of this genre, combining all the components of the novel into a single whole. Secondly, but in his opinion, B¡ldungsroman is a novel of monocentric construction, where biographical narration prevails. Thirdly, in the German “novel of education” the process of spiritual formation of personality unfolds over many years, from youth to spiritual and physical maturity. Through the fate of one person, the history of an entire society is shown. Fourthly, the need to express the stages of intellectual and moral development of the protagonist in the works of German writers entails a phase-like, stage-by-stage structure of the plot.

In a number of studies devoted to the study of the genre of “novel of education” using examples of works of Western European writers, a special place is occupied by the works of E. Krasnoshchekova, who turned to the formation of the B¡ldungsroman genre in Russian literature, relying on the concepts of M. M. Bakhtin and V. N. Pashigorev .

E. Krasnoshchekova studied this genre variety of the novel and traced the genesis and evolution of the genre, European in origin, in

18 See: Krasnoshchekova E. Decree. op.

context of the Russian literary tradition, highlighting a monocentric composition with a limited set of second-row characters who perform an auxiliary function. The plot and plot elements are projected onto the character of the main character, who concentrates in himself the spirit, meaning and inner content of everything that happens around him. The composition of the “novel of formation,” according to the researcher, is determined by stages, which reveal clear stages in the life of the main character. One of the main features of this type of genre, Krasnoshchekova emphasizes, is intellectualism, since the “novel of education” contains elements of a philosophical novel. All these features of artistic form and content are found in Goncharov, in his depiction of the life of the human soul in “Ordinary History”, and then in “Oblomov” and “Break”.

In paragraph four, “Scientific controversy around the definition of the genre of the novel “Ordinary History” in the works of domestic and foreign researchers,” the definitions of the genre specificity of the novel “Ordinary History” in the studies of domestic and foreign literary scholars are compared.

In numerous historical and literary works, “Ordinary History” received various definitions of the nature of the genre, ranging from social19, socio-psychological20 and ending with the “novel of education”. An accurate definition of the dominant genre of Goncharov’s novel is important to establish its belonging to the series of works being studied.

Before considering the problem of genre specificity, we should turn to the question of the peculiarities of the artistic world and Goncharov’s creative style.

From the point of view of N.I. Prutskov, “An Ordinary Story” characterizes one of the trends in the development of the socio-psychological novel, where the writer, having created the image of Pyotr Aduev, discovered courage, insight and sensitivity to life, catching the changes taking place in the public consciousness. According to him, Goncharov was interested in the epic scale, the disclosure of the “mechanism of life” in general and the place of man in this life: “he takes ordinary people and reproduces not their philosophical, moral, ideological quests, but the history of the formation of a person’s character under the inexorable influence of a certain social order life." Thus, here the moment of personality formation in changing life conditions is emphasized, and, thereby, one of the

19 See: Lotman Yu. M. I. L. Goncharov // History of Russian literature: In 4 volumes - L.: Nauka, 1982. - G. 3; Tseitlin L. G. I. A. Goncharov. - M.: Publishing House of the USSR Academy of Sciences, 1950; Nedavetsky,

B. A. Goncharov's novels. - M.: Education, 1996.

20See: Glukhov V.I. On the literary origins of “Ordinary History” // Materials of the international conference dedicated to the 180th anniversary of the birth of I. L. Goncharov. -Ulyanovsk: Strezhen, 1994.

21 Quoted from: Melnik V.I. Ethical ideal of I.A. Goncharov. - Kyiv: Lybid, 1991. -

the most important typological features of the “novel of formation”.

V. A. Nedzvetsky in all of Goncharov’s novels highlights the “philosophy of love”22 as the basis of human life.

According to the author of this concept, the main task of the first novel “Ordinary History” is that the main character Alexander Aduev “will have to find a new harmony - the “poetry” of life, or its modern “norm””23 during his stay in the capital, where the writer “will confront him with the realities of bureaucratic service, magazine literature, family relationships with his uncle, and most of all, love”24. And, as the reader can see, Alexander finds harmony in life, but as a result it turns out to be false, illusory. The “philosophy of love” of the hero, who broke under the pressure of Nadenka Lyubetskaya’s vanity and the ordinary and tiresome love of Yulia Tafaeva, does not stand the test either. Raising Alexander Aduev with love did not achieve a positive result.

V. I. Melnik considers Goncharov as a writer “with a pronounced desire for the ideal”25. However, the writer’s call to ideal is expressed in a unique way. Goncharov developed the style of an impartial writer. His novels lack a clearly defined author's position. The author of the monograph notes that when describing the contemporary era, the novelist does not give one-sided characteristics of both the era itself and his heroes; he shows both positive and negative features, leaving it to the reader to judge the hero and the accompanying social formations of a given era. Since the writer was interested in time, his gaze was directed both to the past and to the present. Analyzing this time, Goncharov reveals himself as a writer who synthesizes philosophical ideas with artistic creativity. According to Melnik, this feature of the novelist brings his writing style closer to the work of writers of the 18th century and the aesthetics of N. I. Nadezhdin.

The passage of time in the works of I. A. Goncharov is shown through the prism of human spiritual and social life. Already in his first novel, the writer drew attention to how time itself changes not only the life style of the main character, but also his character, forcing him to choose between old and new norms of existence.

E. Krasnoshchekova believes that the novel “An Ordinary Story” has genre features of Bildungsroman, which can be traced at different levels, and, above all, at the level of composition and plot. The researcher claims: between the “novel of education” of the 18th century and the novel by I. A. Goncharov’s “An Ordinary Story" is different. The Russian writer’s novel is full of philosophical problems, complicated by the description of social changes,

22 Nedzvetsky, V. A. Goncharov’s novels. - M.: Education, 1996. - 112 p.

23 Nedzvetsky V.L. Novels of I.L. Goncharov // Goncharov I.A.: Materials of the anniversary Goncharov conference of 1987 / edited by. ed. N. B. Sharygina. - Ulyanovsk: Simbirsk Book, 1992. - P. 5-6.

"4 Ibid. P.8.

2S Melnik V.I. Decree. op. P. 6.

happening in Russia. These problems are not presented in a “pure” form. The main character, Alexander Aduev, experiences their influence.

All this allows us to talk about a new genre formation, the features of which are determined by the system of coexistence of characters with different personalities.

Unlike the classic “novel of education”, where a wide range of minor characters are presented, “working” to reveal the character of the main character, in “Ordinary History” this series is limited to a few characters, and the role of mentor, educator-mentor, throughout the entire novel is performed only by one character is the hero's uncle.

Foreign pottery scholar A. Huwiler in his monograph “Three Novels of Goncharov - a trilogy?”26 defines “Ordinary History” as an “educational novel”, the prototype of which is “The Years of Wilhelm Meister’s Study” by I.-V. Goethe. Studying Goncharov's connections with German literature, she finds out what works could have influenced the work of the Russian writer in the period preceding the writing of his first novel. In particular, the researcher writes about the influence that Goethe had on the development of the literary process in Russia in the first decades of the 19th century, and what connections there are between the novels of German and Russian writers.

German philologist P. Tiergen points out the eclecticism of the genre of Goncharov’s first novel. He sees in it a synthesis of the “novel of education” and the “social” novel. The researcher pays attention not only to the description of the fate of the main character, but also to descriptions of life in St. Petersburg, reflecting the sociocultural conditions of life in Russian society27.

Tiergen belongs to that group of pottery scholars who do not recognize the genre of Goncharov’s novel “Ordinary History” as a pure Bildungsroman genre. This is explained by the nature of the time when this work was written. Goncharov expanded the scope of the “novel of education,” imbuing the text of the work with social and moral problems and philosophical reflections.

Chapter three, “Traditions of the genre of “novel of education” in “Ordinary History” by I. A. Goncharov,” analyzes the typological features of the “novel of education” that can be found in “Ordinary History.”

It should be noted that the peculiarity of Goncharov’s first novel

26 Siehe hierzu: Huwyler-Van der Haegen, A. Goncarovs drei Romane - eine Trilogie? Vorträge und Abhandlungen zur Slavistik. - München: Verlag Otto Sagner, 1991. - Band 19. -100S.

27 See: Tirgen P. Oblomov as a fragment of a man (on the formulation of the problem “Goncharov and Schiller”) // Russian literature. - 1990. - No. 3. - P. 18-33.

is that the author adapted the classic genre example of the “novel of education” - VPs1igshch8gotap - to the conditions of Russian reality. The work was created at a time when European society was entering the bourgeois era. The classic “novel of education” showed the main character traits of a person in line with positivist ideals. The Russian novelist depicted, rather, the process of re-education, rather than a consistent line of development of the personality of the main character.

In paragraph one, “The Chronotope in the Novel,” the problem of confrontation between the province and the capital in “Ordinary History” is analyzed.

The “novel of education” is characterized by a stable chronotope, against the background of which the dynamic process of the hero’s upbringing and changes in his attitude to the world are more clearly visible. Goncharov’s urban topos is contrasted with the image of a rural area, an estate with a wide range of everyday, natural associations. St. Petersburg appears as a “stone” city of prudent businessmen. The first impression of St. Petersburg frightened Aduev Jr. with “monotonous stone masses”, “colossal tombs”, where even feelings are controlled “like a ferry”, “borders are assigned to everything.” The city of practical businessmen greets the provincial with turmoil, where “everyone is running somewhere, preoccupied only with themselves, barely glancing at those passing by, and then only in order not to bump into each other”2*. Alexander’s first impression was not erased even when he returned home from St. Petersburg with a heavy heart, having gone through many trials that befell him.

In contrast to the capital, the novel shows the image of a province, a peripheral area that shapes the character of the inhabitants of the Russian land. If you compare the description of nature in Rooks on the day of departure for St. Petersburg and on the day of Alexander’s return from the capital, you can see the unshakable equanimity of village life. But after some time, after restoring his spiritual strength within the walls of his native estate, Alexander realizes that he can no longer live in the silence of the village, where he sees constant stagnation in both feelings and life. Having become addicted to the bustle of metropolitan life, the hero’s soul again rushes into the “pool” of St. Petersburg. The boredom of the provincial outback, in the end, disgusts the main character, and he still finds his refuge in St. Petersburg. Goncharov’s artistic concretization of the feelings and moods of the novel’s characters is closely related to the theme of the city.

In paragraph two, “The stages of the plot of “An Ordinary Story”,” the stages of development of the personality of the main character of the novel are traced.

In the classic “novel of education”, the plot is built taking into account three main stages of the hero’s life: 1) stay in an “idyllic world”, 2) loss of illusions and 3) finding “truths”, finding harmony. By constructing the narrative in this way, the author shows the path of development of the protagonist’s character. The “idyllic world” for Alexander is the world of the Grachi estate, but at that

28 Goncharov I. A. An ordinary story // Goncharov I. A. Poli. collection op. in 20 volumes - St. Petersburg: Pauka, 1997. - T. 1. - P. 203.

The moment when Alexander decides to leave for St. Petersburg to serve for the good of his homeland, for him this ends his stay in the “idyllic world” and the testing stage begins, during which he loses his youthful illusions. Here the main character seems to take a step from one era to another, moving from a patriarchal province to a European capital. From this moment, Alexander’s “school” of life begins under the guidance of his uncle-mentor, who reluctantly assumes the responsibilities of tutoring his nephew.

The process of getting rid of romantic illusions turned out to be painful for the pride of the protagonist, who showed his inability to adapt to metropolitan life. Leaving the village of Grachi, Alexander chose too difficult a road to personal self-affirmation. The burden of metropolitan life turned out to be very significant, irrevocably changing the hero. A similar situation in which Alexander found himself was described by Goethe in his novel about Wilhelm Meister: “There is nothing worse than when external circumstances bring fundamental changes to a person’s position when he has not prepared for them with thoughts and feelings. Here, as it were, an era without an era arises; the discord becomes stronger, the less a person realizes that he has not grown up to the new

provisions".

After the protagonist’s attempt to regain spiritual harmony, to return to his former self in the lap of nature in his native estate, Alexander faces a new turn of fate, which will lead him to the “truth.”

The return of the main character to St. Petersburg this time was a deliberate choice. Now Alexander knew exactly what he wanted to get from life. It seems to the hero that he has found the harmony he was striving for. But in fact, he, like his uncle-mentor, never finds soulful harmony.

Alexander’s love is no exception, which is also divided into stages. At all stages of growing up, the hero finds his reflection in those people with whom fate confronts him. In his uncle, the reader can see a reflection of Alexander in the future, what he will become after going through his “school” of life. Meetings with women also contributed to the revelation of Alexander’s character; each of them contributed to the final image of Aduev Jr., revealing new internal facets in him.

Paragraph three, “Dialogism as a way of organizing narrative,” presents an analysis of the dialogic component of the novel “An Ordinary Story.”

VPs1igshch8gotan, as recognized by pottery scholars (E. Krasnoshchekova, P. Tiergen), absorbs elements of a philosophical novel, which is manifested in the text in the author’s reflections and in the dialogue form of the narrative. As in the classic “novel of formation”, in “Ordinary History” the writer devotes a lot of space to conversations and disputes between Aduev the elder and the younger, in which there is a clash not only of two different

29 Goethe I.-W. Collection op. in 10 volumes - M.: Fiction, 1979. - T. 6. -

views on reality, but also two life positions.

Through dialogues, the psychology of both Aduev Sr. and Aduev Jr. is revealed. At the very beginning of the novel, the reader sees a conflict between two worldviews. The nephew, due to his youthful maximalism, is still guided by his “heart” and does not at all accept his uncle’s concept of “peace.” For the uncle, everything about the nephew is “wild,” and, first of all, the elevated manner of speech is unacceptable. In the epilogue of the novel, the reader is convinced that the young hero has completed his uncle’s “universities”. Here the need for dialogic conflicts disappears, since Aduev the elder and Aduev the younger come to the same denominator: they go “on par with the century.”

As a result of the struggle between two types of life philosophy - sentimentalist and rationalist - sentimentalist philosophy gives way, revealing its inconsistency in the rapidly changing conditions of modern bourgeois society.

In paragraph four, “Monocentrism as a principle for constructing the imagery of the “novel of education”,” the system of images of the novel is considered.

The characters of the supporting characters, like the environment, are not subject to change. They are static and serve to more fully reveal the characteristics of the main character.

One of the leading characters in the second row is Pyotr Ivanovich Aduev, who for Aduev Jr. plays the role of a mentor, a leader on the path of life. The Novelist" depicts a true resident of the capital, in whose characterization the restraint and self-control of a business man prevails. The image of Aduev Sr. is preserved throughout the main part of the novel. Metamorphoses in the character and appearance of Pyotr Ivanovich occur only at the end of the novel, in the epilogue, when he loses his "stoniness" "of the capital city, as if he had merged into it many years ago. In his psychological portrait, the former firmness is no longer there, doubts and concerns appear.

Since “Ordinary History” is not a classic VP<1ип§кготап, а его модифицированная форма, то Гончаров делает исключение и придает характеру Петра Ивановича некую динамику.

Other characters that Aduev Jr. encounters also act as teachers. Unlike Pyotr Ivanovich, all the other characters (these are mostly female characters) do not receive any development, but participate in the narrative only to the extent that they can reveal another facet of the character of the main character. This fact is another confirmation that Goncharov did not create a classic “novel of education,” but a modified version of it, which synthesized elements of moral, philosophical, psychological, and social novels.

Female characters accompany Aduev Jr. throughout his novel life. The first in this row was, of course, the hero’s mother, Anna Pavlovna. She remains the constant guardian of the patriarchal spirit, an opponent of changes that lead into the unknown. But she can't

stop the onset of new life, stop the historical movement of the entire country.

In the capital, the role of mother passes to his uncle's wife, Lizaveta Aleksandrovna, from the moment she appears on the pages of the novel. The “heartfelt” component of Alexander’s soul, developed in his parents’ home, is supported with all his might by his aunt. She tries to preserve Alexander’s spiritual strength not only throughout all the vicissitudes of love, but also when her nephew’s hopes for recognition in the literary field are dashed.

Lizaveta Aleksandrovna softens the antagonism in the psychological types of Aduev Jr. and Sr., one of whom is “enthusiastic to the point of extravagance,” and the other “icy to the point of bitterness.” Like the image of Pyotr Ivanovich, the image of his wife remains constant, freely integrating into the spiral composition of the educational novel.

Paragraph five, “The concept of the hero in the first novel by I. A. Goncharov,” contains an analysis of the author’s solutions to the conflict of character of Alexander Aduev.

In the novel, Goncharov tries to embody his idea of ​​an ideal person, drawing the types of heroes characteristic of his contemporary era. They are inseparable, like two sides of the same coin: Aduev Jr. personifies enthusiastic dreaminess, Aduev Sr. - calculating practicality.

In “An Ordinary Story” there are very few descriptions of the characters’ appearance. The reader can only see Alexander’s actions, changing his character, which is an integral feature of the “novel of education.” Goncharov is laconic in recreating the inner world of the individual.

There are no lengthy reflections in the novel, the dramatic experiences of the main character are not highlighted, but, nevertheless, there is a movement in Alexander’s soul that allows us to talk about the dynamics of his inner world. The last circumstance is especially important when analyzing the “novel of education” of the Goncharov type.

Against the background of static topoi and the immutability of the characters of the supporting characters, the formation of the main character takes place. It is the statics of the entire environment that makes it possible to highlight even the slightest changes in the character of the hero and in the image as a whole in more relief. Historical time has power only over the main character. “Time is brought inside a person, enters into his very image, significantly changing the meaning of all moments of his fate and life”30.

The narrative strategy adopted by Goncharov allows not only to depict events, but also to describe their impact on a person. The concept of the central character of “An Ordinary Story” is mediated by the hero’s past, which determined the complex, contradictory psychological structure of the individual. The autobiographical harmony of the narrative (describing the fate of the hero as a link connecting the past with the future) is destroyed. According to all the canons of the “novel of formation,” the story of Alexander’s upbringing should have been

10 Bakhtin M. M. Questions of literature and aesthetics. Research from different years. - M.: Fiction, 1975.-S. 126.

to reveal the movement of character through communication with a “teacher of life”, a person who has concentrated the experience of generations and is able to pass it on to his successor. But, as it turned out, Aduev Sr. and Jr. had opposite beliefs and ideas about the right path. In Aduev Sr., the “mind” predominated, while Alexander had a pronounced predominance of the “heart.” This expressed the first conflict of opposites in the minds of the mentor and mentee. Such ideological conflicts reflect the influence of the classical German Bildungsroman.

In the process of educating his main character, the novelist subjects him to the test of love, the test of art, and tests him with life in general in order to test the “strength” of the type he created. Thus, the “novel of testing” is organically woven into the novel structure. And since, according to Bakhtin, “the idea of ​​formation and education and the idea of ​​testing do not at all exclude each other,” but on the contrary, “they can enter into a deep and organic connection”31, then such a transition is quite logical. So, through the tests that metropolitan life throws at Alexander Aduev, the integrity and degree of his character at a certain stage is tested. Having gone through all the stages of personality formation, the main character becomes “thick-skinned” in pursuit of a century, eventually “growing into” life. Goncharov changes the functions of individual components of the work, solving new problems - to show the process of educating a person in accordance with the “prosaicness” (V. A. Nedzvetsky) of life and, at the same time, in the light of enduring folk moral ideals.

An analysis of the typological features of Goncharov’s novel “An Ordinary Story” allows us to draw the following conclusion. The work of the Russian writer cannot be called a “novel of education” in its pure form, since in addition to the typological features characteristic of the genre of the “novel of education”, it absorbs signs of autobiographical, social and philosophical novels, rejecting the normalizing pedagogical approach of the Western European novel. The writer managed to organically include all these elements into the plot, creating the first classic novel in Russia, which served as a launching pad for the subsequent depiction of a developing personality in the genre of the “novel of formation” on Russian soil. Goncharov rebuilds the traditional model of the educational novel, discovers new means and ways of depicting the dynamic development of character.

The Conclusion summarizes the results of the study and notes the multi-layered worldview of I. A. Goncharov. The ideas of European philosophers were intertwined in his mind with the ideas of Russian writers, with the cultural and historical traditions of the Russian ethnos. Throughout his life, Goncharov tried to reconcile and harmonize them, which manifested itself in the writer’s creative search. Of the entire system of moral problems, the novelist puts in first place the problem of educating a person’s personality, which became one of the cross-cutting themes in his entire work.

31 Bakhtin M. M. Decree. op. - P. 204.

Goncharov’s skill was manifested in the fact that he was able, using the “novel of education” genre that had developed in Europe, to breathe new life into it and give subsequent Russian writers an example of turning to the traditional novel form with the aim of modifying it. The genre of educational novel was developed in the works of such famous Russian writers as L. II. Tolstoy (trilogy “Childhood”, “Adolescence”, “Youth”), S. T. Aksakov (“Childhood Years of Bagrov the Grandson”), F. M. Dostoevsky (“Teenager”), in novels on the theme of educating a new person in XX century.

From the point of view of the dissertation author, consideration of “Ordinary History” as an educational novel requires closer attention to the means of psychological analysis used by Goncharov to reveal the processes of growth of human consciousness. This side of the novel's poetics has not been sufficiently studied. It cannot be called in the full sense of the word “a novel of education.” What distinguishes “An Ordinary Story” from the traditional “novel of formation” is that the hero, who received his first moral lessons in the village, undergoes re-education under the influence of the urban environment, but retains the moral qualities associated with folk morality. The novel combines the real world in which the writer’s characters live and the world of spiritual values ​​that has developed under the influence of the Christian ideal. Goncharov modified the concept of the “novel of education”, introducing into it axiological principles characteristic of the national cultural tradition.

The main provisions of the dissertation are reflected in the following publications:

1. Pluzhpikova, K). A. Formation of the artistic concept of I. A. Goncharov in the context of the ideas of N. I. Nadezhdin / Yu. A. Pluzhnikova // Bulletin of Tambov University. Ser.: Humanities. - Tambov, 2011. - Issue. 4 (96).-P. 188-190.

Other publications

2. Pluzhnikova, Yu. A. Current problems of studying the creativity of I. A. Goncharov (based on foreign research) / Yu. A. Pluzhnikova // Bulletin of Ulyanovsk State University. - Ulyanovsk, 2008. - No. 3. - P. 6-9.

3. Pluzhnikova, Yu. A. The problem of determining the genre of I. A. Goncharov’s novel “Ordinary History” in Western Slavic Studies / 10. A. Pluzhnikova // Literature and culture in the context of Christianity. Images, symbols, faces of Russia: materials of the V International Scientific Conference. -Ulyanovsk: Ulyanovsk State Technical University, 2008. - pp. 190-195.

4. Pluzhnikova, Yu. A. “The ability to live” and “the abyss... of bad taste”:

culture of the capital and province in “Letters from a capital friend to a provincial groom” by I. L. Goncharova / Yu. A. Pluzhnikova // Russia and the world: History, culture, regional studies: a collection of scientific works. - Ulyanovsk: UlSTU,

2008.-S. 196-199.

5. Pluzhnikova, Yu. A. The genre of “novel of education” in Russia and Germany (based on the novels “Wilhelm Meister” by J.-W. Goethe and “Ordinary History” by I. A. Goncharov) // Literary studies at the present stage: Theory . History of literature. Creative individuals: materials of the International. Congress of Literary Critics. To the 125th anniversary of E.I. Zamyatin / Yu. A. Pluzhnikov; Tambov State University named after G. R. Derzhavin. - Tambov,

2009.-S. 188-190.

6. Pluzhnikova, Yu. A. The motif of “homelessness” in I. A. Goncharov’s novel “Ordinary History” / Yu. A. Pluzhnikova // The Image of Russia in Russian Literature from Metropolitan Hilarion’s “Sermon on Law and Grace” to “Pyramid” L. M. Leonova: movement towards a multipolar world: Proceedings of the VI International Scientific Conference. - Ulyanovsk: Ulyanovsk State Technical University, 2009. - P. 155-158.

7. Pluzhnikova, Yu. A. The origins of I. A. Goncharov’s interest in the genre of “novel of education” / Yu. A. Pluzhnikova // Artistic and philosophical models of the universe in the works of L.M. Leonov and in Russian literature of the 19th - early 21st centuries: materials of the VIII International Scientific Conference. -Ulyanovsk: Ulyanovsk State Technical University, 2011.-P. 253-259.

8. Pluzhnikova, Yu. A. I. A. Goncharov and Russian aesthetic thought of the first half of the 19th century / Yu. A. Pluzhnikova // Bulletin of the Ulyanovsk State University. - Ulyanovsk, 2011. - No. 4. - P. 20-23.

Signed for publication on April 17, 2012. Format 60*84 1/16. Conditional oven l. 1.40. Order 422. Circulation 100.

Ulyanovsk State Technical University 432027, Ulyanovsk, st. Northern Venets, 32 Printing house Ulyanovsk State Technical University, 432027, Ulyanovsk, st. Northern Venets, 32

This term was coined by Karl Morgenstern in 1819 in his university lectures to define an “emerging” adult. This expression was later “legitimized” by Wilhelm Dilthey in the 1870s. and popularized it in 1905.

The novel of education began its development from Goethe's novel Wilhelm Meister's years of study . Novels of this type focus on the psychological, ethical, ethical and social formation of the hero’s personality, and changing his character is also extremely important.

Although this type of novel originated in Germany, it has had a great influence on literature throughout the world. After the translation into English and publication of Goethe's novel in 1824, many authors began to write educational novels. In the 19th - 20th centuries. the novel became even more popular, spreading to Russia, Japan, France and other countries.

The genre comes from a folk tale in which a hero goes out into the world to find his happiness. As a rule, at the beginning the hero is emotional (for various reasons: losses, conflict between himself and society, etc.)). As the plot develops, the hero accepts the foundations of society, and society accepts him. The hero reaches maturity. In some works, after reaching maturity, the hero can help other people.

There are many subgenres of this type of novel (some of them are):

1. Adventure novel (Treasure Island, Two Captains, etc.);

2. Fiction novel (Portrait of the artist in his youth, The Gift, etc.) - the formation of an artist and the growth of his own personality;

3. Entwicklungsroman (“the development of a novel”) is a story of growth, not self-improvement;

4. Erziehungsroman ("novel of education") focuses on preparation and formal education;

5. Career novel - here opportunistic heroes appear before the reader, for example;

6. Boy's horror - a term coined by the Russian horror community to refer to educational novels in the horror genre. The main character can be either a boy or a girl. A special feature is that a significant part of the narrative is conveyed through the perception of a child/teenager hero or an adult hero recalling his childhood;

7. Coming-of-age story (coming of age story) - focused on the growth of the hero from youth to adulthood (“coming of age”).

In addition, some memoirs, for example, can also be considered as a novel of education.

Some of the main plots:

1. The hero faces serious trials (orphan or loss of parents, war, etc.);

2. The hero stops idealizing people. Becomes more cynical. It is possible that he becomes a villain;

3. Ritual of growing up (you need to kill someone, an enemy or an animal, perform a risky task);

4. First or teenage love;

5. Conflict with parents, possible leaving home.

This type of novel is reflected in cinema.

1. Adults and children in Gorky’s story “Childhood.”
2. Natasha’s selfless love for her mother in Tolstoy’s novel “War and Peace.”
3. The child’s resentment in Bunin’s story “Numbers.”
4. Raising little Ilya in Goncharov’s novel “Oblomov”.
5. The attitude of parents towards children in Odoevsky’s work “Excerpts from Masha’s Journal”.

The relationship between “fathers” and “children” is a very complex problem that exists at all times. The conflict between the generation of “fathers” and the generation of “children” is highlighted in many works of Russian classical literature. But difficulties in relationships do not arise suddenly. They are a direct consequence of inattentive and disrespectful attitude towards children. Turning to works of Russian classical literature allows us to see with our own eyes the mistakes adults made when raising children, and the obvious consequences of these mistakes.

Let us recall the autobiographical work of M. Gorky “Childhood”. The main character, after the death of his father, returns with his mother to his grandfather's house. Here he has to face cruelty and injustice. This is the attitude towards children that flourishes in families of relatives. Gorky himself says that in the work he showed “the leaden abominations of life.” All relatives are gloomy, greedy people, angry with everyone and everything. And the grandfather is no less cruel and despotic.

Children grow up in an atmosphere of bitterness and mutual hatred. They are constantly beaten for any, even the most insignificant, offense. This is exactly the kind of “upbringing” that my grandfather adheres to. Literally in the first days of his stay at the relatives’ house, the grandfather caught the boy until he lost consciousness. The children did not feel any love or attention towards themselves. Only the grandmother was the only kind person who showed love and respect to Alyosha. As time passes, the main character only remembers his grandmother with a kind word. And the grandfather received in full for all the evil that he caused to others: “... when the grandmother had already calmed down forever, the grandfather himself walked the streets of the city, a beggar and a madman, pitifully begging under the windows:

- My good cooks, give me a piece of pie, I would like some pie! Oh you-and...”

At the end of his life, the old man was forced to beg, despite the fact that he had a large family. But no one seemed willing to take care of him. And no wonder, because the grandfather himself did not show kindness towards his loved ones.

But in L.N. Tolstoy’s novel “War and Peace,” Natasha Rostova touchingly cares for her mother. After the death of Petya, Natasha's brother, the Countess immediately turned into an old woman. Natasha does not leave her mother's side. “She alone could keep her mother from insane despair. For three weeks Natasha lived hopelessly with her mother, slept in a chair in her room, gave her water, fed her and talked to her incessantly - she talked because her gentle, caressing voice alone calmed the countess.” Love for her mother makes Natasha stronger. A young girl finds the strength to support and help a loved one. There is nothing surprising about this. In the Rostov family, children were always treated with attention, love and care. And when the time came, the now grown-up children began to treat their parents the same way. There have never been any conflicts, mutual enmity or hatred in their family. Therefore, Natasha, forgetting about everything, does not leave her mother, trying to support and help her.

If we compare the atmosphere in the Kashirins’ house, which is described in Gorky’s story “Childhood,” with the atmosphere in the Rostovs’ house, the difference will be enormous. And the point is not only that the Rostov family did not know financial difficulties and problems. Mutual love and respect reign in the Rostov family, which no one even thinks about in little Alyosha’s family.

Childhood memories remain forever in the memory of an adult. Conflicts between older and younger generations are often predetermined by negative memories. Sometimes a seemingly unnoticed and insignificant episode can have a strong impact on the developing character of a child. Let us recall I. A. Bunin’s story “Numbers”. This short work clearly shows us how inattentive adults can be towards a child. In a family, among several adults there is only one child. And it’s not at all difficult for relatives to be a little more attentive to him. But no, adults are unhappy that the child is a “big naughty person.” In fact, the boy does not come across as spoiled. He is inquisitive and explores the world with interest. But his relatives are doing everything possible to pacify him. They don’t even try to understand that the child is overwhelmed with energy, that he cannot sit in one place, as they themselves do. Here we learn that the boy, overwhelmed with the joy of life, shouted. “He shouted, completely forgetting about us and completely surrendering himself to what was happening in your soul overflowing with life - he shouted with such a ringing cry of causeless, divine joy that God himself would have smiled at this cry.” The boy's behavior seems unacceptable to adults. And his uncle begins to shout at him, even allowing himself to spank the baby. This behavior on the part of adults undermines the child’s faith in them. I don’t want to justify my uncle’s actions towards the boy. It would seem that this is a single episode. But how many such situations arise while children are small. All this remains in memory forever. And it is no longer surprising that in the souls of grown-up children there is no boundless respect and love for their elders. In Bunin's story we see that his uncle's unfair act greatly offended the boy. The baby is crying. But neither mother nor grandmother seeks to calm and caress the offended baby. They adhere to the principles of strict education. But from the outside they seem indifferent and callous people. In fact, it’s hard even for an uncle to hear a child cry: “It was unbearable for me too. I wanted to get up from my seat, open the door to the nursery and immediately, with one hot word, put an end to your suffering. But is this consistent with the rules of reasonable upbringing and with the dignity of a fair, albeit strict uncle? And the child was disappointed in his uncle. He used to love him truly and unconditionally. Now the boy looks at his uncle with “evil eyes full of contempt.” This is completely justified. After all, an adult uncle offended a defenseless child.

It is impossible not to agree that raising children is a very, very difficult task. The task of adults is not only to love and respect the child, but also to provide him with the necessary freedom to realize his aspirations. The absence of this freedom will lead to the child growing up weak and weak-willed. This is exactly what happened to the main character of Goncharov’s novel “Oblomov”. If we remember the childhood of Ilya Ilyich Oblomov, we can say with confidence that it was happy and carefree. The boy was loved very much, he was surrounded by attention and care. But at the same time, the child was not given the opportunity to express himself. Little Ilya could not take a single step on his own. If his mother “let him go for a walk in the garden, in the yard, in the meadow, with strict confirmation to the nanny not to leave the child alone, not to allow him near horses, dogs, a goat, not to go far from the house, and most importantly, not to let him into the ravine, as the most terrible place in the neighborhood, which enjoyed a bad reputation.” The boy was deprived of the opportunity to learn something new, to express his desires and abilities. Little Ilya loved to listen to the fairy tales that his nanny told him. Fairy tales became the only possible reality for him, because he did not know or see anything else in his life. And this daydreaming served him badly. “Although the adult Ilya Ilyich later learns that there are no honey and milk rivers, no good sorceresses, although he jokes with a smile at his nanny’s stories, this smile is insincere, it is accompanied by a secret sigh: his fairy tale is mixed with life, and he is powerless sometimes it makes me sad, why isn’t life a fairy tale, and why isn’t life a fairy tale....” It is quite possible that Oblomov’s life would have turned out completely differently if, from childhood, he had learned to show independence and try to do something. But, alas. Oblomov could only dream. He never learned to act. He spent whole days in useless dreams, while real life passed by. “Everything pulls him in that direction, where they only know that they are walking, where there are no worries and sorrows; he always has the disposition to lie on the stove, walk around in a ready-made, unearned dress and eat at the expense of the good sorceress.” This is largely the fault of his parents. They did not allow the child to feel independent. And, having become an adult, he remained as lethargic and lacking initiative as he was in childhood.

In my opinion, an excellent example of proper upbringing is shown in the work of V. F. Odoevsky “Excerpts from Masha’s Journal.” The work is written in the genre of diary notes. The diary is kept by a ten-year-old girl named Masha. Thanks to her records, we get the opportunity to learn about the upbringing of children in noble families. Masha's parents are smart and far-sighted. They do not hide the difficulties of real life from children and give children the opportunity to show their independence. We see how parents instill a sense of responsibility in the girl, how they help her learn how to run a household.

It is very interesting how parents explain to their daughter issues related to spending money. Mom gives Masha the opportunity to manage the funds allocated for her wardrobe. The girl, of course, cannot resist the temptation to buy expensive and beautiful fabric for her dress. But mom delicately, but very clearly explains the unwiseness of large expenses, because you need to buy several things. It is noteworthy that Masha has no grudge against her mother, who refused to buy expensive fabric. No, the girl herself begins to understand the need to save on something in order to be able to purchase what she needs. Mom says to her daughter: “I’m very glad that you want to use the money for a real need, and not for a whim. Today you have taken a big step towards the important science of living.” She also invites Masha to remember Franklin’s words: “If you buy what you don’t need, then soon you will sell what you need.”

In addition to money issues, the work shows that parents instill in their children the need to study and receive an education. Using examples from the families of close friends, parents show the difficulties and problems that can occur in life. Thus, the character of children is formed. They learn to answer serious questions, become smarter and more serious.

Parents treat Masha and her brothers as adults. They explain to children what they do not yet understand. And children are not afraid to contact their parents with this or that question. If relationships based on mutual understanding and trust in each other reign in a family, conflicts are unlikely to ever arise. We do not know what the future fate of Masha and her brothers was. But, judging by the atmosphere in the family, it can be assumed that in the future they never had disagreements or hostility towards each other. Using the example of only a small number of works, we are convinced that the topic of raising children is one of the most complex and pressing problems of humanity. This is precisely what can explain her demand among writers.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

The theme of education in works of Russian literature of the 19th century

Introduction

Mastering literary classics by students is an indispensable condition for maintaining the unity of national culture. The formation of a morally active personality is the main task of teaching and education in literature lessons.

Russian society at this time is experiencing a deep moral crisis: people are moving away from awareness of the spiritual foundations of life, losing the foundations of their own existence. Modern man is increasingly focused on material success and external achievements. The realities of modern Russian society are market relations, orientation towards instrumental values, Americanization of life, destruction of national identity, the foundations of the people’s existence. A truly active person can freely, i.e. consciously choose your line of behavior. Therefore, the main task of training and education must be considered the education of a person who is capable of self-determination in the modern world. This means that students need to develop such qualities as a high level of self-awareness, self-esteem, self-respect, independence, independence of judgment, the ability to navigate the world of spiritual values ​​and in situations in the surrounding life, the ability to make decisions and take responsibility for their actions and make a choice of the content of one’s life activity, line of behavior, methods of one’s development. It was all these qualities that became the basis for the works of the classics of Russian literature of the 19th century.

This work is devoted to the topic of education in the works of Russian literature of the 19th century, the work examines the main aspects of the content of education in literature lessons, analyzes the topic of education in the works of Pushkin A.S., Lermontov M.Yu., Fonvizin D.I., Ostrovsky A.N. . and other outstanding wordsmiths of the 19th century.

1. Fundamentals of moral education in literature lessons

The period of adolescence is a period of rapid “infection” with new ideas, a period of changing feelings, moods, thoughts, hobbies, faith in one’s ideals and one’s own strengths, interest in one’s own personality, the problems of the time, the search for an ideal, a goal in life, dissatisfaction with oneself. All this serves as a powerful engine of moral development.

The development of autonomous morality, associated with a critical understanding of the norms of public morality, explanation of moral conflicts, search and approval of one’s own moral principles, is especially stimulated by the creative acts of moral choice of T.I. Goncharenko. Aesthetic education of students in a literary and creative society. - M.: Gardariki, 2003, p.67. Therefore, modeling and application of situations of moral choice in teaching and upbringing turns out to be a necessary condition for the moral activity of schoolchildren.

A situation of moral choice is one that involves contradictions between two mutually exclusive decisions or actions.

A person in such situations must make an alternative decision about his attitude towards moral or immoral facts and about his behavior (“What should I do?”).

Making an alternative decision means choosing between good and evil, sympathy or indifference, courage and cowardice, honesty and deception, loyalty and betrayal, altruism and selfishness, etc. Choosing the right moral decision means committing an action.

In order to effectively use situations of moral choice in the education and development of schoolchildren, you need to know the types of moral and ethical problems raised in them. Moral and ethical problems can be aimed at understanding broad ideological and ethical phenomena, concepts (man and nature, man and society, art and life, beauty and goodness, the meaning of life, etc.), at understanding the relationships and behavior of people, their own moral qualities.

Morality is a system of internal rules of a person, based on humanistic values ​​that determine his behavior and attitude towards himself and other people.

Morality is a fundamental quality of a person, his positive beginning, growing from a feeling of love for people, regardless of their nationality, and an understanding of freedom as personal responsibility.

The criterion of morality is a person’s ability in a difficult life situation to make a choice in favor of creation rather than destruction.

The formation of morality occurs in the process of personal self-awareness and involvement in the spirituality of society.

Problems may be associated with the choice of behavior and making a moral decision, with the assessment and self-assessment of the moral merits of an individual, with decision-making in a specific situation, and may require an explanation of a moral phenomenon.

The ability to see, realize and analyze moral and ethical contradictions around oneself and in oneself is an essential component of the development of a student’s ethical culture and moral self-awareness.

Moral examples and situations must be taken from works of fiction. The formation of morality through the means of fiction in new sociocultural conditions is a controlled process and depends on the work of the teacher in selecting literary education in the light of cultural, national and universal values ​​Aksenova E.M. Education of feelings through artistic words. Teacher's manual. - M.: AST, 2002, p. 121. Therefore, it is necessary to update the content of literary education and include for study works with acute moral themes that raise important philosophical and moral problems, eternal questions. It is these issues, so important for the moral education and development of schoolchildren, that are illuminated by the authors of works of literature of the 19th century.

The main task of the teacher in literature lessons is to achieve informal solutions to moral problems, to make moral choices, taking into account the diversity of conditions accompanying the situation, bringing up for discussion and analysis increasingly complex moral problems and more complex moral and ethical situations.

Fiction, appealing not only to the mind, but also to the feelings of the young reader, develops and spiritually enriches the emerging personality. The enormous educational material that literature lessons carry is obvious. By awakening the feelings and feelings of the reader - a schoolchild, they improve the culture of perception of fiction as a whole. The task of a wordsmith is to teach children to empathize, reflect on a work, and understand the beauty of the word Meshcheryakova N.Ya., Grishina L.Ya. Formation of the ideological and moral position of adolescents through literature // Improving the teaching of literature at school. - M.: Education, 1986, p.78.

In the school analysis of a literary work, the process of communication with art is important. During the course, the teacher helps children see what went unnoticed during the first reading, gradually reveals the various layers of the literary text, and leads students to comprehend the meaning of the work. This shapes the student as a reader and makes him emotionally more sensitive.

The art of education is, first of all, the art of speaking, of appealing to the heart of a child. Spiritual values ​​should be cultivated. Based on each specific topic of the lesson, it is necessary to determine what learning skills you will develop, what moral qualities this lesson will help to cultivate in students. The educational role of the lesson is more important than simply presenting educational material.

moral teaching literature education

2. The theme of education in works of Russian literature of the 19th century

2.1 Characteristics of 19th century literature

At the beginning of the 19th century. a sentimental direction emerges. Its most prominent representatives: Karamzin ("Letters of a Russian Traveler", "Tales"), Dmitriev and Ozerov. The resulting struggle between the new literary style (Karamzin) and the old (Shishkov) ends in the victory of the innovators. Sentimentalism is being replaced by the romantic direction (Zhukovsky is a translator of Schiller, Uhland, Seydlitz and English poets). The national principle finds expression in Krylov's fables. The father of new Russian literature was Pushkin, who in all types of literature: lyricism, drama, epic poetry and prose, created examples that, in beauty and elegant simplicity of form and sincerity of feelings, are not inferior to the greatest works of world literature Bazanov A.E. Russian literature of the 19th century. - M.: Law and Law, 2001, p. 83. At the same time, A. Griboedov acts with him, who gave the command. "Woe from Wit" is a broad satirical picture of morals. N. Gogol, developing the real direction of Pushkin, depicts the dark sides of Russian life with high artistry and humor. Pushkin's successor in graceful poetry is Lermontov.

Starting with Pushkin and Gogol, literature becomes an organ of public consciousness. The ideas of the German philosophers Hegel, Schelling and others (the circle of Stankevich, Granovsky, Belinsky, etc.) appeared in Russia in the 1830s and 40s. On the basis of these ideas, two main currents of Russian social thought emerged: Slavophilism and Westernism. Under the influence of the Slavophiles, interest in native antiquity, folk customs, and folk art arises (the works of S. Solovyov, Kavelin, Buslaev, Afanasyev, Sreznevsky, Zabelin, Kostomarov, Dahl, Pypin, etc.). At the same time, political and social theories of the West penetrate into literature (Herzen).

Since the 1850s, novels and stories have become widespread, reflecting the life of Russian society and all phases of the development of its thought (works by Turgenev, Goncharov, Pisemsky; L. Tolstoy, Dostoevsky, Pomyalovsky, Grigorovich, Boborykin, Leskov, Albov, Barantsevich, Nemirovich-Danchenko, Mamin, Melshin, Novodvorsky, Salov, Garshin, Korolenko, Chekhov, Garin, Gorky, L. Andreev, Kuprin, Veresaev, Chirikov, etc.). Shchedrin-Saltykov, in his satirical essays, castigated the reactionary and selfish tendencies that arose in Russian society and interfered with the implementation of reforms of the 1860s. Writers of the populist movement: Reshetnikov, Levitov, Ch. Uspensky, Zlatovratsky, Ertel, Naumov.

The historical stage of the emergence of the realistic method and the corresponding direction. The 19th century embraced all the best that was in romanticism, which arose at the turn of the 18th and 19th centuries: the idea of ​​free development of personality, creative transformation of the genre and stylistic originality of literature. The 19th century gave different national versions of a truly social novel, where a person was presented in a deep internal connection with social circumstances and was subordinate to them, although for many artists the literary character was also presented as a fighter against these circumstances Pedchak A.N. Russian literature of the late 18th and early 19th centuries. - M.: Phoenix, 2003, p. 29. Like no other century, the 19th century was distinguished by an extraordinary variety of genre and thematic forms of literature, and in such an area as versification, it gave countless rhythmic and strophic modifications in every national literary language. At the beginning of the 19th century, I.V. Goethe formulated the principle of “world literature”. This did not mean the loss of the national specificity of literature, but only testified to the processes of integration in the verbal art of the world. The second half of the 19th century was called the “Russian period” in world literature.

2.2 Moral, artistic and aesthetic education based on the examples of literary works of the classics of the 19th century

To comprehend philosophical problems, actively apply their knowledge, their life experience, using their beliefs, pose problems, analyze various moral and ethical conflicts, complex problems of human relations, make independent decisions, develop cognitive independence and creative abilities, students learn from the works of such famous authors 19 centuries like Pushkin A.S., Lermontov M.Yu., Fonvizin D.I., Ostrovsky A.N., Goncharov. By analyzing the authors' works, it is possible to explain concepts such as conflict, morality, patriotism, devotion, and betrayal. In the works of the listed masters of words of the 19th century, the theme of education runs through an invisible thread.

For example, the work of A.S. Pushkin’s “Eugene Onegin” can rightfully be considered an encyclopedia of education for modern life. This is an eternal work that combines all the main traditions of the Russian people. The novel in verse "Eugene Onegin" poses many problems. One of them is the problem of happiness and debt. This problem is most clearly illuminated in the final explanation of Eugene Onegin with Tatyana Larina. For the first time, Onegin thinks that his worldview is wrong, that it will not give him peace and what he ultimately achieves. “I thought: freedom and peace are a substitute for happiness,” Onegin admits to Tatyana, beginning to realize that true happiness lies in the desire to find a soul mate.

He understands that all his foundations have been shaken. The author gives us hope for the moral revival of Onegin. Tatiana's main advantage is her spiritual nobility, her truly Russian character. Tatyana has a high sense of duty and self-esteem. Because Tatyana puts her duty to her husband above her own happiness, she is afraid of disgracing him and hurting him. That is why she found the strength to suppress her feelings and tell Onegin:

I love you (why lie?)

But I was given to another;

And I will be faithful to him forever

The theme of education in this work is expressed by instilling a sense of duty and responsibility. Honor and the meaning of life are the main educational problems covered in the novel. Tatyana was forced to fight for her dignity, showing in this struggle uncompromisingness and her inherent moral strength; this is precisely what Tatyana’s moral values ​​were. Tatyana is the heroine of conscience. Tatyana appears in the novel as a symbol of fidelity, kindness, and love. Everyone has long known that happiness for women lies in love, in caring for one’s neighbor. Every woman (whether she is a politician, teacher or journalist) should be loved, love, raise children, have a family. For Pushkin, Tatyana is the ideal of a young Russian woman who, once met, cannot be forgotten. The sense of duty and spiritual nobility of G.N. Volova are so strong in her. Evgeny Onegin A.S. Pushkin - The Mystery of the Novel. Criticism. - M.: Academy, 2004, p. 138.

In the work of M.Yu. Lermontov's "Hero of Our Time" the main educational theme is the problem of personality. The personality in its relation to society, in its conditioning by socio-historical circumstances and at the same time counteracting them - this is Lermontov’s special, two-sided approach to the problem. Man and fate, man and his purpose, the purpose and meaning of human life, its possibilities and reality - all these questions receive multifaceted figurative embodiment in the novel. “A Hero of Our Time” is the first novel in Russian literature in the center of which is presented not the biography of a person, but rather the personality of a person - his spiritual and mental life as a process Anoshkina V.N., Zverev V.P. Russian literature of the 19th century. 1870s - 1890s: Memoirs. Literary critical articles. Letters. - M.: Higher School, 2005, p. 14 . The novel organically combines socio-psychological and moral-philosophical issues, a sharp plot and the hero’s merciless self-analysis, the outline of individual descriptions and the novelistic swiftness of turns in the development of events, philosophical reflections and unusual experiments of the hero; his love, social and other adventures turn into the tragedy of the fate of an extraordinary person that did not fully materialize. The entire system of images of this work, like the entire artistic structure of the novel, is constructed in such a way as to illuminate the central character from different sides and from different angles.

This work develops in the reader the ability to fully exist in society, the ability to understand the contradictions that often arise in the soul of any person, the ability to find a balance between psychological difficulties and obstacles that stand in the way.

The significance of the novel “A Hero of Our Time” in the subsequent development of Russian literature is enormous. In this work, Lermontov, for the first time in the “history of the human soul,” revealed such deep layers that not only equated it with the “history of the people,” but also showed its involvement in the spiritual history of humanity through its personal and tribal significance. In an individual personality, not only its specific and temporal socio-historical characteristics were highlighted, but also all-human ones.

The work of D.I. Fonvizin has no less significant educational value. "Undergrown." It is especially valuable during adolescence, when young people desperately need help in choosing their future path in life. In Fonvizin’s comedy, the theme of education is expressed in the confrontation between good and evil, baseness and nobility, sincerity and hypocrisy, animality and high spirituality Pedchak A.N. Russian literature of the late 18th and early 19th centuries. - M.: Phoenix, 2003, p. 54. Fonvizin’s “Minor” is built on the fact that the world of the Prostakovs from the Skotinins - ignorant, cruel, narcissistic landowners - wants to subjugate all life, to assign the right of unlimited power over both serfs and noble people, to whom Sophia and her fiancé, the valiant officer Milon belong. ; Sophia's uncle, a man with the ideals of Peter's time, Starodum; keeper of the laws, official Pravdin. In comedy, two worlds with different needs, lifestyles and speech patterns, with different ideals collide. The ideals of the heroes are clearly visible in how they want their children to be. Let’s remember Prostakova in Mitrofan’s lesson:

“Prostakova. It’s very nice to me that Mitrofanushka doesn’t like to step forward... He’s lying, my dear friend. I found the money - I don’t share it with anyone... Take it all for yourself, Mitrofanushka. Don’t learn this stupid science!”

Now let’s remember the scene where Starodum speaks to Sophia:

“Starodum. The rich man is not the one who counts out money so that he can hide it in a chest, but the one who counts out what he has in excess in order to help someone who does not have what he needs... A nobleman... would consider it the first dishonor of not doing anything: there are people to help, there are A fatherland to serve."

The work clearly shows the difference between good and evil, nobility and ignorance; the reader has the opportunity to evaluate all these qualities and conclude what is truly valuable in life. the comedy is deeper, internal: rudeness that wants to look kind, greed that disguises generosity, ignorance that pretends to be educated. The comic is based on absurdity, a discrepancy between form and content. In “The Minor,” the pitiful, primitive world of the Skotinins and Prostakovs wants to break into the world of the nobles, usurp its privileges, and take possession of everything. Evil wants to get its hands on good and acts very energetically, in different ways.

The theme of education can be seen no less clearly in the work of the great Russian playwright of the 19th century A.N. Ostrovsky "The Thunderstorm". The drama tells about the tragic fate of a woman who could not step over the patriarchal foundations of the house-building system, could not fight for her love, and therefore voluntarily died. This work with a tragic ending instills in the reader fortitude, the ability to find a way out of difficult situations, and maintaining self-control in difficult moments of life Palkhovsky A.M. Drama by A. N. Ostrovsky “The Thunderstorm” in Russian criticism. - St. Petersburg: St. Petersburg State University Publishing House, 2001, p. 42. Katerina is very pious and religious. And from the point of view of the church, suicide is a grave sin; the suicide is not even served with a funeral service. And we see how difficult it is for her to take this step, however, it is the betrayal of her closest person that pushes her to commit suicide. Katerina was disappointed in her lover and realized that he was a weak, weak-willed person. Look how Boris behaves in the farewell scene: at first he feels sorry for Katerina, and in the end he himself wishes her death. Perhaps not so terrible, but still the death of Katerina will make Boris forget her faster.

Of course, suicide can be regarded as the act of a weak-willed person. But on the other hand, life in Kabanikha’s house is unbearable for her. And in this act lies the strength of her character. If Boris runs away from his love, abandons Katerina, then what should she do, how to live on? And so she decides to commit suicide, because she cannot stop loving Boris and forgive him for his betrayal. The drama “The Thunderstorm” shows the full power of the influence of such relationships as betrayal, contempt, and neglect on a person and his soul. The education of students using the example of this work is in line with the formation of a sense of justice, respect, and devotion to one’s neighbor.

In the work of N.V. Gogol’s “Dead Souls” also paid close attention to the topic of education. Nikolai Vasilyevich, being an honest, intelligent, sensitive, religious man, saw that the world is ruled by evil, which spreads with great speed, and people get along with it. Having got along with a person, it begins to flourish and triumph. Evil begins to spread so quickly that it is difficult to determine its boundaries. Considering himself a prophet, Gogol sincerely believed that it was he who should point out to humanity its sins and help get rid of them. When you read the pages of the work, everything seems gray, vulgar, insignificant. It is dullness and vulgarity that is evil, and it is scary in itself. It is vulgarity that gives rise to base feelings, stupidity and indifference. In this vulgar world, evil knows no boundaries, for it is limitless.

The main question asked by N.V. Gogol in the poem “Dead Souls”: “Is there something bright in this world, at least some kind of appeal to the light?” No, here they serve other idols: the stomach, materialism, love of money. But these are all false values, and each of the heroes has their own. In the poem “Dead Souls,” the author posed the most painful and pressing issues of contemporary life. He clearly showed the decomposition of the serf system, the doom of its representatives. The very title of the poem had enormous revealing power and carried within itself “something terrifying.” The main educational idea of ​​the work can be called the doctrine of moral and spiritual values ​​of a person, as opposed to material values. A person needs lofty ideas, aspirations, emotions; the constant desire for savings and material wealth simply destroys the human “I”.

The system of characters in the work was made on the principle of ever deeper spiritual impoverishment and moral decline from hero to hero. So, Manilov’s economy “went somehow by itself.” When reading the work, an interest in everything that is around is cultivated, and the enormous harm and destructive effect of indifference and apathy is pointed out. Throughout the entire poem, Gogol, parallel to the plot lines of landowners, officials and Chichikov, continuously draws another one - connected with the image of the people. With the composition of the poem, the writer constantly reminds us of the existence of a gulf of alienation between the common people and the ruling classes.

No less important for the education of the reader is the work of I.A. Goncharov. "Oblomov." The main features of Oblomov’s character are complete inertia, which stems from his apathy towards everything that is happening in the world. Pisarev D.I. Roman I. A. Goncharova Oblomov. - M.: State Publishing House of Fiction, 1975, p.96. The reason for his apathy lies partly in his external situation, and partly in the manner of his mental and moral development. In terms of his external position, he is a gentleman; “he has Zakhar and three hundred more Zakharovs,” as the author puts it. Oblomov is not a being, by nature completely devoid of the ability of voluntary movement. His laziness and apathy are the creation of his upbringing and surrounding circumstances. The main thing here is not Oblomov, but Oblomovism. He might even have started working if he had found something to do for himself: but for this, of course, he had to develop under somewhat different conditions than under which he developed. In his present situation, he could not find anything he liked anywhere, because he did not understand the meaning of life at all and could not reach a reasonable view of his relationships with others.

Conclusion

So, having analyzed the theme of education in the works of classics of Russian literature, we can conclude that the fiction of the 19th century represents the most important cultural heritage, helping to educate a morally and spiritually rich generation.

Outstanding literary works help the reader analyze their own actions and develop in them the ability to make the right decisions when a person is faced with a moral choice. Literature of the 19th century teaches us the fundamental qualities of the human soul, such as honor, dignity, loyalty, devotion, spirituality, philanthropy, humanity, and hard work. Using the examples of the heroes of their works, the authors unwittingly cultivate in readers the moral qualities of the human personality, guided by the actions and views of their characters.

The theme of education actively runs through the bulk of the works of literature of the 19th century, which also shapes patriotism and love for the Motherland among readers. Thus, we can say that the educational topic is an effective methodological means of forming in readers their own moral and ethical views, beliefs, attitudes, ideas in the process of solving moral and ethical problems.

Bibliography

1. Aksenova E.M. Education of feelings through artistic words. Teacher's manual. - M.: AST, 2002.

2. Anoshkina V.N., Zverev V.P. Russian literature of the 19th century. 1870s - 1890s: Memoirs. Literary critical articles. Letters. - M.: Higher School, 2005.

3. Bazanova A.E. Russian literature of the 19th century. - M.: Law and Law, 2001.

4. Volovoy G.N. Evgeny Onegin A.S. Pushkin - The Mystery of the Novel. Criticism. - M.: Academy, 2004.

5. Goncharenko T.I. Aesthetic education of students in a literary and creative society. - M.: Gardariki, 2003.

6. Meshcheryakova N.Ya., Grishina L.Ya. Formation of the ideological and moral position of adolescents through literature // Improving the teaching of literature at school. - M.: Education, 1986.

7. Pedchak A.N. Russian literature of the late 18th and early 19th centuries. - M.: Phoenix, 2003.

8. Pisarev D.I. Roman I. A. Goncharova Oblomov. - M.: State Publishing House of Fiction, 1975.

Posted on Allbest.ur

Similar documents

The role of literature in the formation of man. Methods of teaching Russian literature of the twentieth century in grades 5-7 of secondary school using the example of Nabokov’s work “The Resentment.” Development of a system for studying individual works of writers in a classroom setting.

course work, added 10/01/2008


Study of the relationship between literature and chemistry using the example of works of art, chemical errors in literature. Artistic images of metals in Lermontov's lyrics. Analysis of the influence of works of art on students’ cognitive interest in chemistry.

thesis, added 09/23/2014


Features of moral education of primary school students through the means of fiction, principles for implementing these tasks in the relevant lessons. Folk tale as a means of moral education for younger schoolchildren, lesson development.

abstract, added 11/29/2013


Morality as a category of moral education. Methods, means and content of moral education of schoolchildren, features of its application in literature lessons. Analysis of value orientations (moral categories) of 6th grade students of Municipal Educational Institution Secondary School No. 1 26.

course work, added 06/22/2010


Folk art as a means of moral education of preschool children, the role of fiction using the example of proverbs, sayings, and fairy tales. Development of pedagogical conditions for moral education in the process of speech development activities in preschool educational institutions.

course work, added 02/14/2012


The connection between literature and music in lessons at a correctional school. Using literature in music lessons. Music and literature at holidays and entertainment. Acquaintance with musical terms through the literary word. The influence of music and literature on humans.

thesis, added 01/28/2010


The main purposes of using fiction in history lessons. The place of fiction in a history lesson and the principles of its selection. Classification of works of fiction. Methodology for using fiction.

course work, added 06/24/2004


Methodological problem of forming the concept of “dystopia” in literature lessons. Factors in the evolution of utopia to dystopia. Study in secondary school of dystopian works by Russian and English writers of the twentieth century, taking into account their genre uniqueness.

thesis, added 06/09/2012


Aesthetic education: concept, characteristics, basic criteria. Age associated with the development of aesthetic education. A series of practical works for studying the Inkscape graphic editor, aimed at the aesthetic education of schoolchildren.

D. A. Cast iron

FEATURES OF THE "NOVEL OF EDUCATION" IN THE NEWEST GERMAN LITERATURE

VESTNIK VSU. Series: Philology. Journalism. 2006, no. 1
Voronezh State University
http://www.vestnik.vsu.ru/content/phylolog/2006/01/tocru.asp

Possibility of stylistic definitions of literature of the 1990s. significantly difficult for the reason that in the reader's consciousness works that are completely different from each other are juxtaposed."Handke's consistent anti-realism" 1 is combined with close attention to the experiments of realism on the part of Michael Kumpfmüller, the demonstrative cynicism of Christian Kracht and the irony of Benjamin von Stuckrad-Barre are adjacent with the melancholy intonation of Judith Hermann and the soulful lyricism of Siegfried Lenz...

Such combinations are explained by the fact that the described period in the history of German society is characterized by many historical - political, social and, accordingly, cultural transformations. According to the political scientist A. Dugin, addressed in the 1990s, “we live in an era of fundamental paradigm change,” 2 which, undoubtedly, affects the literary process. It is no coincidence that Marcel Bayer, one of the popular young authors of the late 20th century, spoke very skeptically about the rules of literary creativity: “The meaning of literature cannot be adherence to norms. Literature can only express a rejection of norms” 3. The multicultural and multinational European reality emerging after 1989, unlike previous years, does not imply any cultural unity (which previously arose under the conditions of a single statehood and a relatively single state ideology). The rapid flow of modern reality is not conducive to long-term stylistic searches. This circumstance is well understood by literary scholars. I'll give just one example. Characterizing the latest German-language lyrics, G. Korte insightfully used a line from a poem by Bert Papenfuss - “Free from all isms” 4.

This observation is especially applicable to authors of the younger generation, who entered literature precisely in the 1990s. Tanya Dykkers wrote in an essay in the fall of 1998 about a new understanding of the creative process: “Literature should be a rapidly living, quickly and loudly presented product of everyday life...” (italics - D. Ch.) 5 . In such a situation, the concept of “style” most often turns into a necessary set of techniques that provides the author with a sufficient level of market success 6. In other words, there is often an almost absolute coincidence of the concepts of “style” and “brand”, which led in the 1990s. the beauty of so-called 7 “pop literature”. At the same time, the combination of the pan-European situation of postmodernist trends in literature (according to the apt observation of modern culturologist A. Tsvetkov, “the general relaxation of authors and the mass rejection of any mission and extra-artistic pretension of art” 8) and noticeable attempts to overcome it also determine a certain complexity of stylistic assessments.

It is quite natural that one of the main ones in this situation becomes the question of the aesthetic and ethical value of works, their axiological content. Literary critic I. Arend rather ironically assesses modern writing practice, drawing attention to the passion for electronic literary projects: “An increasing number of authors are creating their own Internet pages. Everyone hopes for the opportunity to be published as soon as possible and go directly to the reader. The page of Martin Auer from Vienna looks like catalog of goods. You can request everything - from a novel to lyrics and smoky chanson...<...>But thanks to the way texts are promoted on the Internet, the author loses his greatness, turning into a lecturer, even a censor, when he exercises control over his guest page... Martin Auer asks visitors to the home page at the end of the exhibited excerpts from his novel, as in a questionnaire: " Weren't you bored? If so, in what places? "Frightened Christine Eichel 9 from Wiesbaden can already see how the plebiscite of readers displaces the solipsistic author" 10 .

Of course, in literature of a traditional form of existence (not electronic), this is not so noticeable, however, even here the author’s close attention to the needs of the public, reflected in the form, plot, collisions and the actual public presentation of the text, appears quite often. In 1998, she successfully used the image of the author of a new generation, Judith Hermann, thanks to a competent publishing policy and timely advertising announcements, becoming famous even before the publication (!) of her debut book. The thoughtful combination of the creative process and the cultivated author’s image into a kind of “artistic-commercial whole” 11 distinguishes other modern writers - I. Schulze, K. Kracht, B. von Stuckrad-Barre.. - and even Günther Grass was forced to listen to the demands of the public , when he created the sensational "Trajectory of the Crab" 12.

In this article, we do not set ourselves the task of exploring the entire diversity of stylistic features of German literature in the 1990s, limiting ourselves to addressing only one aspect of the modern literary process. The object of our attention will be the traditional German “novel of education.” Using the example of artistic transformations taking place in this genre at the end of the century, we will try to show what is often referred to as “Zeitgeist”, as the spirit of the time in art, which is formed from popular models of author and reader behavior.

At the same time, it seems that the trends that will be discussed are reflected in the works of both well-known and young authors, so we will not divide (with some exceptions) a single literary process into any streams or directions.

The depiction of life “as an experience, as a school through which every person must go,” characteristic of the “novel of education” from its very inception, was a characteristic feature of many works of all German post-war literature. Let's name here, for example, "Assembly Hall" (1964) and "Imprint" (1972) by Herman Kant, Erwin Strittmatter's multi-volume epic "The Wizard" (1957-1980), continuing the tradition of "German Lesson" (1968), "Living Example" ( 1973), "Museum of Local Lore" (1978) and "Training Ground" (1985) by Siegfried Lenz...

Openly aimed at understanding the “private” issues of life, offering a special look at a person - as a variable quantity depending on external circumstances, showing how a person “becomes together with the world, reflects the historical formation of the world itself” - this genre turned out to be naturally also in demand in modern German literature. “The problems of reality and human possibility, freedom and necessity, and the problem of creative initiative,” which M. M. Bakhtin wrote about in relation to the “novel of education,” became the most pressing problems of reality itself, taking shape after the fall of the Berlin Wall.

It is not difficult to trace that the traditional scheme of the “novel of education” was also implemented in works of the 1990s that became widely known, for example, in “Hampel’s Flight” by Michael Kumpfmüller, and “Heroes Like Us” by Thomas Brussig.

The main character of the first of these novels, Heinrich Hampel, as a teenager, and later in his teenage years, absorbs the cruel science of survival in war and post-war reality. Fate takes him from country to country, from continent to continent, his life turns into a kaleidoscope of meetings and partings; and only at the end of his life, at the end of Honecker’s reign, Hampel comes to the realization of a number of bitter truths for himself. The story of Klaus Ulzst, written by Brussig, begins in childhood. Throughout his life, this character is included in the rigid structure of East German society, and only postfactum does he understand the real essence of the years he lived... In general, these works are constructed in a familiar way:

1. the main character goes through certain stages of his personal development: “years of learning” - “years of wandering” - “years of wisdom”;

2. the reader reveals the inner world of the hero, the hidden motives of his behavior;

3. the novel receives a monocentric structure, where the epic tendency gives way to a subjective lyrical narrative;

4. the paradigm of the hero’s spiritual growth is built through a personalized, “mirror” arrangement of characters: the characters surrounding the hero appear as his reflections, options for his possible development; The “tests” and temptations of the hero are carried out in meetings and ideological disputes;

5. The work has a step-by-step plot-compositional structure that demonstrates the spiritual development of the hero.

The characteristic structural elements of the “novel of education” are also present in other works of the 1990s, demonstrating the traditional relevance of this genre for the German consciousness:

- in the novel by Jens Sparshu “The Indoor Fountain” the main character, already in adulthood, is forced to go through the difficult path of “re-education”, rethinking his former life under the socialist system and adapting to the new German reality; — in Andreas Mayer’s novel “Spirit Day,” a significant place is occupied by the depiction of the deep internal metamorphoses of his hero, Anton Wiesner, his overcoming of various everyday and spiritual difficulties on the way to gaining a new view of the world and his place in it. The action of the novel takes only a few days, but the story of the hero’s “upbringing” presented in a concentrated form, the openness and plot importance of his thoughts and experiences convince us of the author’s inheritance of tradition; - a characteristic paradigm describing the spiritual growth of the hero is also found in the novel “The Well-Fed World” by Helmut Krausser: without being deceived by the fundamental everyday disorder of the character, we observe his constant desire for the Highest principle of life, which manifested itself already in Hagen’s distant childhood, and at the same time we trace the situations , in which the material beginning of real life is spiritualized from above...

Genre elements of the “novel of education” are also present in “The Daughter” by Maxim Biller, “Sunny Alley” by Thomas Brussig, “Willenbrock” by Christoph Hein, “Crazy” by Benjamin L-bert, in Siegfried Lenz’s novels “Resistance” and “Arne’s Legacy”. .

At the same time, it is necessary to point out certain changes in the genre that occurred in the 1990s. and conditioned by the very specifics of the new historical era.

The “novel of education” was a natural creation of the Enlightenment, which believed that the natural kindness of man needs to be processed by reason. The traditional construction of the plot in the educational “novel of education” implied that the strength of the natural, “natural” principle 13 in the hero was sufficient to resist the “unreasonable” that surrounded this hero, the “unnatural” conditions in which he found himself.

Without touching on the general problems of the historical development of the “novel of education” in our work, we will note that such an ideological and compositional attitude is radically rethought in the German novel of the 1990s.

“The hesitation” of the human principle that characterizes the European reality of the 20th century. and in particular - his second half, painful individualism and other value characteristics of personality, which were discussed in the previous chapter, led to a change in emphasis in the relationship “man - world”, depicted in the “novel of education”. In this regard, a significant event in literary life after 1945 was the satirical novel “The Tin Drum” by Günter Grass, which presented the public with an unusual hero - as a sign of protest against the reality that “educated” him, he refused to grow and “switched off” himself from the usual social connections. The development of Grasse’s author’s thought, reflected in the 2002 work “Trajectories of the Crab,” is indicative. The writer here questioned the final part of the process in which the hero of the traditional “novel of education” participates. In the fate of Paul Pokriefke, a journalist wearily telling the story of his life, inextricably linked with the history of post-war Germany, recalling certain events of the past and present, a seemingly well-known pattern of personality development is realized. However, Grass deprived this scheme of completion: the hero’s accumulation of knowledge about the world, life experience, which should have led to the establishment in the hero’s mind of the idea of ​​​​serving people, a real “exit” to them, does not give the expected result. The hero of Grasse speaks, of course, about the necessity, about his duty to “enlighten” others, but at the same time, the mournful final lines of the entire work convince of the opposite: he actually admits his own helplessness to change anything in life for the better (as he also admitted “ the old man who has written himself off”, in whose image one can guess the figure of Grasse himself). Remembering the human madness that colored the entire 20th century. in dark tones, he tragically pronounces, leaving no alternative to the future: “There will never be an end to this. Never.”

On the understanding and interpretation of human destiny, characteristic of the “novel of education”, in the 1990s. reflections on the totalitarian trends of the 20th century were noticeably reflected. The key anthropological problem of literature—the transformation of a “private” person into a “cog in the system,” into a person “in the service of the state”—has changed both the previous understanding of personal capabilities and the assessment of its interaction with society. Let us trace these changes using the example of the already mentioned novels by Brussig and Kumpfmüller.

The merciless irony addressed to the East German past, permeating the novel “Heroes Like Us”, turns the process of raising the hero into something the opposite - into a process of active assimilation by him of all kinds of psychic and mental complexes of the era, distorting his private existence. The structure of the traditional educational novel is distorted to the extreme. The hero's overcoming of difficulties (point 1 of the genre scheme) on the way to mastering a useful business (point 2) in Klaus Ulitscht's version of fate looks like his conscious discovery and invention of these difficulties in order to become the greatest pervert in the history of humanity. Immersion in the reflections and experiences of the hero, the depiction of his deep internal metamorphoses (point 3) appears in Brussig’s novel not as self-knowledge and a search for truth, but as a demonstration of the fundamental inadequacy of the thoughts and feelings of a typical resident of a socialist society. The hero does not appear before us as a truly deep personality, although he tries in every possible way to convince the reader of the opposite. Most of the pages of the novel are filled with a truly Kafkaesque spirit, and Klaus Ulzst's experiences of the absurd reality surrounding him also border on the absurd. To a certain extent, the novel preserves the stylistic confession of the protagonist (point 4) and the episodes of his acquisition of true knowledge about the world (point 5), however, here too a transformation of the genre is noticeable. In some places, the author prompts the reader that Klaus Ulzst’s confession is far from conscious, not natural, but forced, due to special investigations into the activities of the MGB carried out after the fall of the Berlin Wall. In other episodes, he turns the confessional nature of the narrative into a conscious game for the public, which is so characteristic, for example, of descriptions of Klaus’s childhood and youth (let us remember here at least his self-determination - “Klaus das Titelbild”!). Finally, let us point out that what is fundamental for the author is not the protagonist’s insight at the end of the story, his acquisition of some stable knowledge about the world, but his experience of the situation of consciousness split by the era. The very becoming linear time of the “novel of education” (point 6) unexpectedly unfolds here (in a semantic sense), and an open ending arises, filled with the hero’s painful retrospective immersions in the past.

A genre metamorphosis also occurs in Kumpfmüller's novel Hampel's Flight. The work covers the entire life of the hero, stretching from childhood to the death of Heinrich Hampel, telling about the years of his growing up and first love, about his search for himself and his place on earth, about numerous attempts to find stability in existence. It is easy to identify the stages of his biography, but such step-by-step, gradual narration only indirectly resembles an important mode of spiritual development in the “novel of education.” We can observe how the hero changes, and sometimes these changes are unusual for him, 14 but Hampel never moves from an unenlightened, profane state to a state of enlightenment. Understanding his own life does not create in him a real need to enlighten others.

Michael Kumpfmüller realizes in the genre form of an “educational novel” a vision of human destiny characteristic of the end of the 20th century; and this author's aspiration makes noticeable changes in the form. The hero here acts as a victim, and not as an active creative force, independently choosing a way of communicating with the outside world. He cannot be called a typical conformist, because he also knows how to subjugate circumstances to himself and take advantage of what is happening. And at the same time, all of Hampel’s “activity” comes down to achievements at the everyday level: the ability to get scarce goods, the ability to make friends with the right people... In the episodes where Hampel begins to “preach” his worldview, the satirical content of the novel is instantly revealed: the author each time it emphasizes the collapse of the hero’s independence (remember the state’s hope for personal happiness with the Russian girl Lyusya, dashed by the state, the shameful fiasco in the ideological dispute with his brother Theodore, etc.).

A bitterly satirical interpretation of the pages of the recent past, projecting itself onto the understanding of the entire human history of the 20th century, leads to the fact that the figure of the Teacher, a kind mentor who helps the hero on the path of knowledge, characteristically disappears from both works. With a conscious focus on ridiculing the dark pages of the past, this is seen as a sad summing up of the century. It is no coincidence that at different moments in the narrative the figure of the Teacher is replaced by characters who personify the system in the grip of which the character is squeezed. In “Heroes Like Us,” these are faceless school teachers, Eberhard Ulzst, one of the highest state security officers, Major Wunderlich and Hauptmann Grabe, Klaus’s colleagues in the Stasi. In "Hampel's Escape" - this is a friendly intelligence officer Harms, "comrade" Gisela Müller, the party directorate of the plant where the Hampel family works... "Education" on the part of the system, which in fact grinds the personality - this is what it turns out to be in the 1990s. a characteristic vision of human "discipleship".

N. F. Kopystyanskaya, reflecting on the structural nature of the literary genre, rightly emphasized its duality: general theoretical stability and at the same time variability, revealing itself “in continuous historical development and national identity.” Awareness of such duality is fundamentally important for our research. Changes in the artistic form of the “novel of education” were caused precisely by the uniqueness of the 1990s. as a new literary era that put forward “its own aesthetic demands in direct and indirect dependence on socio-political circumstances.”

NotesI.

1 Scalla M. Da hat etwas angefangen / M. Scalla // Der Freitag. - 2002. - No. 6. - Rez. zu: Der Bildverlust oder Durch die Sierra de Gredos / P. Handke. - Frankfurt a. M.: Suhrkamp, ​​2002. - 760S. - (http://www.freitag.de/2002/06/02061402.php).

2 Further, A. Dugin refers to Baudrillard: “Baudrillard calls this “post-history,” an era when the “sign” ceases to be in clear interdependence with the “signified.” In other words, in the previous phase of history, the “sign” necessarily pointed to something, let something be floating and elusive, variable, but having certain permanent limits, therefore, any discourse was amenable to a fairly unambiguous interpretation, although this could be carried out at different levels." See: Is the concept of style relevant today? (Poll) // Russian magazine. - 2002. - March 22. - (http://www.russ. ru/culture/20020322zzz. html).

3 Quoted by: WichmannH. Von K. zu Karnau: Ein Gespräch mit Marcel Beyer über seine literarische Arbeit (2O. August 1993) / H. Wichmann. - (http://www.thing, de/neid/archiv/sonst/text/beyer. htm).

4 Korte G. German lyrics from 1945 to the present day / G. Korte // Arion. - 1997. -No. 4. - (http://magazines. russ. ru/arion/1997/4/99. html).

5 Diickers T. Close that gap! Berliner Literaturszene high and low / T. Diickers // Hundspost: Hamburger Literaturzeitschrift. - Herbst 1998. - (http://www.tanjadueckers.de).

6 For example, the remark of E. Sokolova is fair: “The very concept of pop literature in the Fiedlerian sense has been shaken - many of its elements were borrowed by the entertainment industry, and individual representatives - Rainald Goetz (1954), Andreas Neumaster (1959), Thomas Meinecke (1955) , - on the contrary, they got the opportunity to publish in the publishing house "Suhrkamp", the most authoritative in the "high" culture of Germany, and thus moved into "serious" literature. The themes, language and forms characteristic of pop literature at the time of its formation, are henceforth used only to the extent that they can contribute to an increase in circulation. As a result, at the turn of the century there was a growing tendency to designate entertaining literature in general with this term, ignoring the original priority of a critical attitude towards traditional forms." Cm.: .

7 We use the words “so-called” due to the noticeable uncertainty and vagueness of this literary phenomenon. There is a lot of debate about its essence; noteworthy, for example, is the situation of mutual divergence and misunderstanding between theorists of “pop literature” who write about it in special publications, and “practical” writers who formed in 1999. pop culture quintet "Tristesse Royale". See, for example, an interview with I. Bessing, which took place on the anniversary of the literary group:.

8 See: Is the concept of style relevant today? .

9 One of the visitors to this website.

10. er durchkommen zu können. Bei Martin Auer aus Wien sieht die Homepage aus wie ein Warenhauskatalog. Vom Roman bis zur Lyrik und dem rauchigen Chanson kann man alles abrufen. Meist ist das Angebot aber alles andere als erhebend. Mag sein, dass sich bei pool manclie Autoren. hinter nktiven Identitäten niclit nur verstecken, sondern in die Literatur hineinproben. Doch wer Null und pool im Netz anklickt, wird sich schnell wieder aus dem digitalen Staub machen ob der vielen, gahnend langweiligen Privatstreitereien. Wenn sich Moritz von Uslar, Christian Kracht und Ge org M Oswald über die Einsamkeit des Schriftstellers, Thomas Meinecke und Helmut Krausser iiber den Kosovo—Rrieg streiten, spricht das zwar dafür, dass man im Netz unmittelbarer und beweglicher kommunizieren kann. Das kann man aber auch iibertreiben. Auf Due Dauer Bieten Solche Jetzt --istzt - Gubsonderungen Beleidigter Leberwürste Wie Maike Wetzel Nirvana, Die Sich am 5. 99 UM 14:12:22:22 IIBER DIE "VERBAL - TACKEN Eser München - Tussi Katrin "Aufregt, Wenig Antspruchsvolles Lesefutter"". Natürlich beeinilusst das Medium den Text. Der verfliissigt sich zu beiläufigen Mitteilungen mit begrenzter Haltbarkeit. Furs Netz greifen Autoren schneller zu bildschirmkompatiblen Kurzformen wie Aphorismen. Am meisten wandelt sich aber der Autorenbegriff. So wie im Netz Texte herumgerückt werden, verliert der Autor die Hoheit dariiber, wird selbst zum Lektor, gar Zensor, wenn er die Gästebücher seiner Homepage kontrolliert. Mancher ist noch direkter. Martin Auer fragt seine Homepage—Besucher am Ende seiner ausgestellten Romanentwürfe in einem Fragebogen: "Haben Sie sich gelangweilt? Wenn ja, an welchen Stellen?" Erschrocken sah die Wiesbadener Autorin Christine Eichel schon das "Plebiszit der Leser" den solipsistischen Autor verdrängen".

See: Arendl. Haben Sie sich gelangweilt? / I. Arend // Der Freitag. - 1999. - 17. September. - (http://www.freitag.de/1999/38/99381502.htm).

11 Definition by E. Sokolova.

12 Thus, considering the history of the creation of his story “The Trajectory of the Crab”, assessing the nuances of the socio-political situation that arose in Europe at the end of the century, S. Margolina comes to an interesting conclusion: “The last decade was marked by a surge in ethnic cleansing around the world. Before the eyes of a confused Europe, the nightmare of Srebrenica. Undoubtedly, Germany's consent to NATO action was a consequence of historical responsibility for the Holocaust, the creed of "never again Auschwitz." And as soon as the expulsion of the Kosovars was publicly compared with the extermination of the Jews, the voices of critics of the bombing died down. This is not the place to discuss legitimacy bombings or the validity of the comparison, but it is necessary to point out the paradox of such a comparison in the context of the “understanding” we are describing. After all, it is precisely this that relativizes the Holocaust, places it among other events and makes it an integral part of universal history. In any case, the last decade has been filled with events against the background of which it became increasingly difficult to keep “comprehension” at the same level. Politically, the move of the government to Berlin, the creation of the new Berlin Republic and the impending enlargement of the EU required the “normalization” of relations with all former victims, the final payment of all bills. The countries of Central Europe began their own “understanding” of history, including the post-war deportation of Germans. In this atmosphere, it would be politically myopic to pretend that the German refugee problem does not exist. At the same time, a global context of “victim culture” begins to emerge, which began with the Holocaust, but was soon adopted by a variety of minorities - sexual, ethnic and any other who wish to join this, in many respects, convenient category. Jews have to make room. German exiles are thus able to enter on an equal footing into the international community of victims and demand respect for their suffering. In this global situation, Günter Grass turns out to be not an encroacher on a taboo, but a representative of the mainstream who was almost late for the distribution of elephants. In an effort to retain the title of conscience of the nation at any cost, he creates a banal work, in which many even saw a transparent political super-task: on the eve of the elections, to attract the sympathy of exiles and their sympathizers to the ruling Social Democratic Party, the political homeland of Grasse, which found itself in a dead end. If this is really the case, then such instrumentalization of a previously taboo topic not only does not do honor to the writer, but is also a sure symptom of the meaninglessness of “comprehension”, the devaluation of its emotional and ethical super value” (emphasis added. - D.Ch.).

See: Margolina S. The End of a Beautiful Era. On the German experience of understanding national socialist history and its limits / S. Margolina // Untouched reserve. — 2002. —№22. - (http://magazines. russ. ru/ nz/2002/22/mar. html).

13 This “natural beginning” noticeably manifests itself in the construction of such works of the 1990s as “Resistance” by Z. Lenz, “South of Abisko” by K. Böldl.

14 So, having met Bella, one of his mistresses, Hampel honestly admits: “Before you, I knew nothing about myself.” Cm.: .

LITERATURE

1. Bakhtin M. M. Novel of education and its significance in history / M. M. Bakhtin // Aesthetics of verbal creativity. - M., 1979. - P. 188-236.

2. Grass G. Trajectory of the crab/G. Grass. — M.: ACT; Kharkov: Folio, 2004. - 285 p.

3. Kopystyanskaya N. F. The concept of “genre” in its stability and variability / N. F. Kopystyanskaya//Context. 1986: Literary and theoretical studies. - M., 1987. - P. 178-204.

4. Sokolova E. From East to West and back. Literature of Germany after unification / E. Sokolova // Foreign. lit. - 2003. -No. 9. - (http://magazines. russ. ru/inostran/2003/9).

5. Brussig Th. Helden wie wir / Th. Brussig. —Frankfurt am Main: Fischer Taschenbuch Verlag, 1998. -325 S.

6. KumpfmüllerM. Hampels Fluchten / M. Kumpfmüller. - Köln: Kiepenheuer&Witsch, 2000. - 494S.

7. StemmerN. T. Interview mit Joachim Bessing, Herausgeber von "Tristesse Royale" / N. T. Stemmer. — (http://www.pro—qm. de/ Veranstaltungen/tristesse/tristesse. html).