Genre "Soviet classical prose". Village Prose Exam Questions

The sociocultural situation of the second half of the twentieth century (1950-1990s): the entry of civilization into the stage of post-industrial, post-totalitarian society, new technologies, space exploration, further development of natural resources. Awareness of the ecological and spiritual crisis of modern civilization, standardization of life, mass culture that replaced the totalitarian one, consumer attitude to life, the disappearance of utopian consciousness, the destruction of faith in human reason.

Particular attention in the literature is attracted by the philosophy of P. Teilhard de Chardin, A. Schweitzer, M. Heidegger (the existence of man in being, connections with him), the theory of French post-structuralism (J. Derrida, J. Baudrillard, R. Barthes, J. Kristeva), the concepts of culture-game, culture-sport are developing (H. Ortega y Gasset, J. Huizinga).

Literature of the second half of the twentieth century is characterized by a variety of genre forms (small and large epic works, psychological drama, lyrics and poems), the development of traditional styles and trends and the emergence of new ones, adherence to canons and the desire for innovation.

Literature of the second half of the twentieth century is divided into periods:

Literature of the late 1950s-60s (the “thaw” period): focus on mastering social reality, aesthetics of the “truth of life”, analyticism instead of synthesis, individuality instead of typicality. Restoration of social optimism is a utopian idea of ​​moral improvement of society. Alienation of public consciousness from state ideology and preservation of the value of social connections (“man of the group” instead of man of the class). Dissident movement and underground culture. Formation of various literary trends: continuation of the traditions of realistic literature (“industrial” novel, “village” prose, psychological poetry), revival of traditions (modernism), the emergence of Russian postmodernism. Refusal of the principle of idealization of reality, principles of analysis and criticism of reality, change in the principle of historicism, installation of a multi-conflict perception of the world. The emergence of new literary and artistic magazines: “Youth” (1955), “Friendship of Peoples” (1955), “Our Contemporary” (1964), “New World” under the leadership of A. Tvardovsky.

Literature 1970-80s: search for the metaphysical foundations of existence and universal values, the essence and meaning of human existence. Crisis of rationalism, passion for various religious, esoteric teachings. Man in natural existence and man in the history of mankind and eternity. An appeal to the poetics of myth, to symbolization, an attempt to give a holistic picture of the world. Loss of faith in universal values, the onset of mass culture, an abundance of information, the formation of a fragmented consciousness, a playful attitude towards reality. Alternative youth culture, underground literature. The eclectic nature of culture in connection with the development of “detained” and emigrant literature in the late 1980s.

Literature of the 1990s: a period of social and public upheaval, the collapse of the Soviet Union. Crisis of traditional ideas about the role of literature and culture. The gaming (aesthetic) phase in the history of modern literature. Priorities of postmodern culture. Total skepticism in human understanding. Synthesis of literary movements, dialogue between tradition and neo-avant-garde.

Educational and reference literature:

1. Ashcheulova, I.V. Russian poetry of the second half of the twentieth century: names and motives: textbook / I.V. Ashcheulova. - Kemerovo, 2007.

2. History of Russian literature of the twentieth century (20-90s). Literary process: textbook. - M.: Moscow University Publishing House, 2006.

3. History of Russian literature of the twentieth century: In 2 parts / Ed. V.V. Agenosova. - M.: Bustard, 2007.

4. Leiderman, N. L. Lipovetsky, M. N. Modern Russian literature: in 3 books. Textbook / N. L. Leiderman, M. N. Lipovetsky. - M., 2001. Book. 1 - 1953-1968; book 2 - 1968-1986; book 3 - 1986-1990s.

5. Musatov, V.V. History of Russian literature of the first half
XX century / V.V. Musatov. - M., 2001.

6. Russian literature of the twentieth century: In 2 volumes: textbook / A. P. Krementsov et al. - M.: Academia, 2005.

7. Russian writers 1800 – 1917. Biographical dictionary: In 5 volumes. T. 1. - M., 1989.

8. Russian writers. Biobibliographical dictionary: In 2 volumes - M., 1990.

9. Russian writers. XX century. Biobibliographical dictionary. In 2 parts / Ed. N. N. Skatova. - M.: Education, 1998.

Additional educational literature:

1. Bavin, S.P. Fates of the poets of the Silver Age. Bibliographical essays / S.P. Bavin, I. V. Semibratova. - M., 1993.

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Article: Kislova A.V.

Essay

The main directions of development of Russian literature in the 1950-1990s.

Moscow 2012

Introduction. 3

Literature of the “Thaw” 4

Literature of the 70-90s 7

Prose Development 10

Conclusion. 15

References: 16

Introduction.

Russian literature in the years 1950-1990 developed unevenly, sensitively responding to the political situation in the country. Artistic heroes grew up along with their authors, and literary workstions most clearly expressed the problems that worried the public at that time. To understand the soul and view of the world of a person of that time, it is not enough to find out what historical steps occurred at the time of his life; it is much more important and effective to take a book of that time. The authors of the 50-90s, like a curious child, absorbed any movement, any breath of the breeze of freedom, but they also easily succumbed to government repression. Despite the censorship, the Soviet reader continued to want to read; literature could not fade or bend to the demands of the authorities. And even harsh actions, such as expulsion or imprisonment for freedom of speech, did not kill the desire to write in Russian authors. This literary period is very interesting in its diversity; human consciousness was seething and looking for answers to all those questions that the authorities or authors of past years could not satisfy. I would like to compare the 50-90s with the period of adolescence, when the authors tried to understand themselves, the world around them and began to ask questions critical of reality. To understand themselves, many modern boys and girls should study this literary period, and I am no exception.

Literature of the Thaw

The period of the “thaw” is called the end of the 50s and 60s of the life of society and literature. The death of steel led to great social changes, XX the party congress that took place after, Khrushchev’s report on Stalin’s personality cult. The literature of these years was marked by great revival and creativity. During the Thaw, censorship was noticeably weakened, primarily in literature, cinema and other forms of art, where a more critical coverage of reality became possible. A number of new magazines began to be published: “VL”, “Russian Literature”, “Don”, “Ural”, “On the Rise”, “Moscow”, “Youth”, “Foreign Literature”. Creative discussions on the topics of realism, modernity, humanism and romanticism are increasingly taking place, and attention to the specifics of art is being revived. Discussions about self-expression, about “quiet” lyrics, about document and fiction in artistic creativity also do not pass by. In 1971, the resolution “On Literary and Artistic Criticism” was adopted, which undoubtedly shows how much more importance was given to the development of criticism in these years. The undeservedly forgotten names and books of I. Babel, A. Vesely, I. Kataev, P. Vasiliev, B. Kornilov were restored in literature. Also, the works of M. Bulgakov ("Selected Prose", "The Master and Margarita"), A. Platonov (prose), M. Tsvetaev, A. Akhmatov, B. Pasternak are returning to literature.

The 60s are considered a phenomenon in the history of Russian literature of the 20th century. During this period of history, a whole galaxy of names of talented prose writers appeared to the world. First of all, these were writers who came to literature after the war: F. Abramov, M. Alekseev, V. Astafiev, G. Baklanov, V. Bogomolov, Yu. Bondarev, S. Zalygin, V. Soloukhin, Y. Trifonov, V. Tendryakov. The heyday of the creativity of these writers occurred in the 60s. During this period, the flourishing of artistic journalism became a feature of the literary process. (V. Ovechkin, E. Troepolsky, B. Mozhaev).

Already at the end of the 1950s, social and cultural renewal was proceeding very slowly and internally contradictory. A distinct opposition between the two forces has emerged. Despite the clearly positive trends in the publication of new works, there were often critical attacks and even organized campaigns against writers and works that represented a new stage in social and literary development. (I. Orenburg’s story “The Thaw” and his memoirs “People, Years, Life”, novels by B. Pasternak “Doctor Zhivago”, V. Dudintsev “Not by Bread Alone”, etc.)

Artists, young poets and prose writers were also attacked by N.S. Khrushchev, who gave crude, elaborate speeches at meetings with the creative intelligentsia in late 1962 and early 1963. In 1962, Khrushchev made a decision to put in place the very “loose” writers and artists who increasingly demanded freedom of creativity. At subsequent meetings, Khrushchev more than once subjected cultural figures to harsh criticism.

In December 1962, an exhibition of works of fine art was organized in Manege, which Khrushchev also visited. Among the exhibits were several paintings and sculptures made in the style of abstract art, so fashionable in the West. Khrushchev was angry, believing that the authors were mocking the audience and wasting people’s money in vain. In his denunciation of the authors, Khrushchev went so far as to publicly insult him, as a result of which many participants were deprived of the right to exhibit and were also deprived of earnings (not a single publishing house accepted their work even as illustrations).

Among the artistic intelligentsia, this behavior caused a sharp dissonance, discontent began to quickly spread and result in a critical opinion about Khrushchev and his policies, and many anecdotes appeared.

At the same time, the works of artist Robert Volk, sculptor Ernest Neizvestny, poet Andrei Voznesensky, and film director Marlen Khutsiev were subjected to harsh criticism. The works published in “New World” by A. Tvardovsky were subject to critical attacks, which is why he was forced to leave the magazine in 1970. Also, the persecution of Boris Pasternak, the trial of Joseph Brodsky, accused of “parasitism” and exiled to the North, the “case” of Andrei Sinyavsky and Yuli Daniel, convicted for their artistic works published abroad, the persecution of A. Solzhenitsyn, V. Nekrasov, Alexander Galich.

Literature of the 70-90s

Since the mid-60s, the “thaw” has subsided. The “thaw” period gave way to the Brezhnev era of stagnation (70-80s), which was marked by such phenomena as dissidence. For the open expression of his political views, which differed significantly from the policies of the state,Communist ideology and practice, many talented authors were forever separated from their homeland and were forced to emigrate.(A. Solzhenitsyn, V. Nekrasov, G. Vladimov, N Aksenov, I. Brodsky).

In the mid-80s, M. S. Gorbachev came to power, this period was called “perestroika” and it passed under the slogans of “acceleration”, “glasnost” and “democratization”. In the context of the rapid socio-political changes unfolding in the country, the situation in literature and in social and cultural life changed dramatically, which led to a publishing “explosion”. The magazines “Yunost”, “New World”, “Znamya” reach unprecedented circulations, and an increasing number of “detained” works begin to be published. A phenomenon is emerging in the cultural life of the country that has received the symbolic name “returned literature.”

During this period of time, new approaches to rethinking the achievements of the past were noted, including the works of the Soviet “classics”. In the second half of the 1980s and in the 1990s, the works of M. Bulgakov and Andrei Platonov, V. Grossman and A. Solzhenitsyn, Anna Akhmatova and Boris Pasternak, which were previously banned, began to be conceptualized as the most important components of the literary processes of the XX centuries.

Writers from the Russian diaspora of the first and subsequent waves of emigration received special attention: the works of Ivan Bunin and Vladimir Nabokov, Vladislav Khodasevich and Georgy Ivanov, etc. The names of Vasily Aksenov, Georgy Vladimov, Vladimir Voinovich, Sergei Dovlatov, Vladimir Maksimov, Viktor Nekrasov, Joseph Brodsky, Alexander Galich.

In the works of prominent writers in the second half of the 80s, problematic and thematic layers of fiction and memoir literature, telling about the historical past, stood out. First of all, they talked about the tragic events and trials of the era (Stalinist repressions, dispossession and 1937, the “camp theme”). Illustrative examples of this period of literature can be lyrical works of large form: the cycle poems of A. Akhmatova (“Requiem”), A. Tvardovsky (“By the right of memory”) and others. “Detained” works were not only the publications of outstanding works of the 20th century. 30s and 50-60s. (A. Platonov’s “The Pit”, “Chevengur”, M. Bulgakov’s “Diaboliad” and “Heart of a Dog”, V. Grossman’s “Life and Fate”, “Everything Flows”, A. Solzhenitsyn’s “In the First Circle”, “Cancer Ward” ", Y. Dombrovsky "Keeper of Antiquities", "Faculty of Unnecessary Things", V. Shalamov "Kolyma Tales"), but also the creations of contemporaries: "New Purpose" by A. Beck, "White Clothes" by V. Dudintsev, "A Golden Cloud Spent the Night "A. Pristavkina, "Children of Arbat" by A. Rybakov.

The literature of these and subsequent years developed in a complex manner, showing the influences of realism, neo-avant-garde and postmodernism. The question of creating historically accurate, authentic philosophical literature about the era and its people in all its complexity hung as a silent question on the lips of the readership.

At the end of the 1980s, the literary scholar and critic G. Belaya, in the article ““Other” prose: a harbinger of a new art,” asked one of the main questions of that time: “Who belongs to the “other” prose?” The list of authors of “other” prose was quite varied: L. Petrushevsky and T. Tolstoy, Venedikt Erofeev, V. Narbikov and E. Popov, Vyach. Pietsukh and O. Ermakov, S. Kaledin and M. Kharitonov, Vl. Sorokin, L. Gabyshev and others. These writers were really different: in age, generation, style and poetics. Works of “other” prose sharply criticized and challenged Soviet reality. The artistic space of this school included a dormitory, communal apartments, kitchens, barracks, and prison cells. And their characters are marginalized: homeless people, lumpen people, thieves, drunkards, hooligans, prostitutes.

At the same time (80s), a new generation appeared in literature that called itself “forty-year-old” prose writers (“Moscow school”). They came with their hero, to describe whom critics introduce the definitions “middle” and “ambivalent” (V. Makanin, A. Kurchatkin, V. Krupin, A. Kim).

Development of Prose

In the works “The Thaw” by I. Ehrenburg, “Not by Bread Alone” by V. Dudintsev, and “The Battle on the Way” by G. Nikolaeva, attempts to comprehend the contradictions of socio-political development are very clearly expressed. The authors tried to focus attention on social, moral and psychological problems.

Works created during the “thaw” attract attention not more with the traditional depiction of the battle between two worlds in the revolution and civil war, but with the internal dramas of the revolution, contradictions within the revolutionary camp, and clashes of different moral positions of people involved in historical action. This is what became the basis of the conflict in P. Nilin’s story “Cruelty”. The humanistic position of a young coal investigation officer, Veniamin Malyshev, comes into conflict with the senseless cruelty of the head of the criminal investigation department. A similar conflict determines the development of the plot in the novel “Salty Pad” by S. Zalygin. From the beginning to the end of the novel, the thought of the earth and the need to protect its beauty from thoughtless cruelty and selfishness of the plunderers, from indifferent connivance is stitched with a white thread. The most dear ideas to the author are presented by Nikolai Ustinov, a hero spiritually close to our time.

“All people are born from the earth - children, fathers, mothers, ancestors, and descendants - but ask, do they recognize their own mother in her face? Do they love her? Or do they just pretend that they love, but in reality they only want to take from her and take, while love is, after all, the ability to give? And even a truly loving person cannot help but give. The earth is always ready to die for the sake of people, to be worn out for them, to crumble into dust, but find a person who will say: “I am ready to die for the sake of the earth!” For the sake of its forests, steppes, for the sake of its arable lands and the sky above it!” [“Salty Pad” by S. Zalygin.]

Young prose writers of the “Thaw” times (G. Vladimova, V. Voinovich, A. Gladilin, A. Kuznetsov, V. Lipatov, Yu. Semenov, V. Maksimov) were characterized by moral and intellectual quests. The “young” prose of the 1960s, or “confessional”, as its critics called it, began with just one person - V. Aksenov. The works of writers of “young” prose were published in the pages of the magazine “Youth”.

The hero, who did not correspond to generally accepted canons of behavior, was very attractive to prose writers of that time. Such literary heroes were characterized by an ironic attitude towards the world around them. And only now it becomes clear that behind this screen of irony and causticity of the hero, many authors had a tragic family experience: pain for the fate of repressed parents, personal instability, ordeals in life. But not only tragedy became the basis of interest in this type of artistic heroes, the ins and outs were also hidden in high self-esteem, which gave rise to the confidence that without complete freedom they would not be able to fully realize their creative potential. Sorzrealist aesthetics imposed the idea of ​​the Soviet man as an integral personality living in harmony with his beautiful modernity, but “young” writers could not accept this instruction, which is why a young reflective hero appeared in literature. Mostly these were yesterday's schoolchildren taking their first steps in the big world.

A. Kuznetsov begins his story “The Continuation of the Legend” with the hero’s recognition of his “immaturity” and helplessness. Critics found the reason for the discord in the soul of the hero of “young” prose in the breakdown in the self-awareness of Soviet society, which occurred at the beginning of the “thaw”. At that moment, the ideological myths that had been instilled for the last forty years began to creak, and in this breakdown the moral well-being of the youngest generation suffered the most , which led to a crisis of faith.

“Why was it necessary to prepare us for an easy life?” [“Continuation of the Legend”, Anatoly Kuznetsov] asks the main character, finding himself in the “open voyage” of the adult world. This is precisely what became the conflict in “young” prose; the world turned out to be different from how it was depicted in textbooks and books, and behind the doors of the school something completely different, new began, for which the younger generation was not yet prepared. The world was changing and it scared everyone.

Many wanted a beautiful, excited life, such as the heroes of V. Aksenov’s story “Colleagues” (1968), but their romantic idea of ​​the world is opposed by the rough and ugly prose of reality that colleagues face immediately after graduating from medical school.

Sasha Zelenin ends up in the village, where they receive medical treatment the old fashioned way, and Maksimov has to do routine sanitary and quarantine service at the port instead of sailing the seas and oceans. Both heroes face evil: Zelenin with the bandit Bugrov, and Maksimov with the swindler Yarchuk, whom he exposes. All the heroes of the confessional must pass the test of the temptations of compromise: vulgarity, cynicism, opportunism.

The main conflict that develops in “young” prose is the conflict between fathers and children. In his story “Star Ticket,” V. Aksenov makes the older generation look comical. The revolt of the “star boys” is nothing more than a protest against a template, a standard, a refusal to obey old norms. This is the desire to be yourself and control your own destiny.

However, it is worth noting that, to a greater extent, all the spiritual wanderings of the authors of “young” prose led them to a tragic outcome - emigration, since the Soviet government could not accept such novelty of views.

In the prose of the 60s, one more movement can be distinguished - lyrical prose, which was represented by such writers as K. Paustovsky ("The Tale of Life"), M. Prishvin ("In the Fog"), V. Solomin ("A Drop of Dew" ), O. Bergoltz ("Day Stars"). Works of lyrical prose reveal not so much the external movement as the world of the soul of the literary hero. The main thing in such works was not the plot, but the feelings of the characters. “A Drop of Dew”, “Vladimir Country Roads” by V. Soloukhin and “Day Stars” by O. Bergolz from the moment of their appearance were considered examples of lyrical prose, where not only the lyrical principle dominates, but also the epic. The story "Vladimir Country Roads" by V. Soloukhin is a narrative genre in which there is not only a lyrical beginning, but also elements of a document, essay and research. Anti-philistine, everyday prose can be represented by the works of Y. Trifonov, Y. Semin ("Seven in One House"), V. Belov ("Education According to Doctor Spock"). Novels “And It’s All About Him” by V. Lipatov and “Territory” by O. Kunaev. They were most significant in “production” prose. "Camp" prose is represented by the works of A. Solzhenitsyn ("One Day in the Life of Ivan Denisovich"), V. Shalamov ("Kolyma Tales"), G. Vladimov ("Faithful Ruslan"). This prose also includes the memoirs of former camp inmates O. Volkov (“In the Darkness”) and E. Ginzburg (“Steep Route”).

The deepening of artistic conflicts, the desire to explore in their entirety and complexity the contradictions of development, is especially noted in the prose of these years. You can also notice the enrichment of the genre-compositional and stylistic structure of works about the war, the widespread use of conventional forms of image, and the complication of the author’s style.

The spiritual renewal of society was provoked by perestroika in the 80s. It was perestroika that gave many writers the opportunity to talk about the lack of prosperity with the education of the younger generation. It was at this time that the reasons for the decline in morals in society were revealed. Writers V. Astafiev (“Sad Detective”), Ch. Aitmatov (“Scaffold”), F. Abramov (“Home”) spoke about this.

The pinnacle achievement of literature of the 60-90s was military and village prose. Military prose was characterized by the authenticity of descriptions of military operations and the experiences of the heroes, so the author of military prose was, as a rule, having gone through everything that she described in her work, for example, the novel “Cursed and Killed” by Viktor Astafiev.

Village prose began to appear back in the 50s (“essays by Valentin Ovechkin” by Alexander Yashin, Anatoly Kalinin, Efim Dorosh), but did not have sufficient strength and interest to stand out as a separate direction. And only by the mid-60s did “village prose” reach the required level of artistry (Solzhenitsyn’s story “Matryonin’s Dvor” was of great importance for this).

Conclusion.

In the forty years since the end of the “thaw,” society has managed to change dramatically, both in terms of the political regime and in its views on the world. Russian literature entered the fifties as a daring teenager who liked to look at the world, it was ready to be insolent and shout to the authorities, spit poison and resist in every possible way, defending its freedom. But over time, when gatherings in kitchens, exile and public insults began to fade, Russian literature was reborn into a timid youth, for whom the time had come to comprehend everything that he had done. Questions about the future, past and own present have become burning questions. Despite all the tragic history that the authors of the 50-90s had to endure, despite all the harsh criticism and other repressions, Russian literature, thanks to the events of these years, was greatly enriched and moved to a different, more meaningful and deep level. Studying Russian literature of Soviet times can greatly help the development of any modern teenager, since leaving schools or colleges, looking around the world, we, like the authors of the “young” generation, do not know where to put ourselves.

Bibliography:

1. “Modern Russian literature - 1950-1990s” (Volume 2, 1968-1990) Leiderman N L & Lipovetsky M N
2. “Continuation of the Legend” Anatoly Kuznetsov
3. “Salty Pad” Zalygin S.P.
4. “Commission” Zalygin S.P.
5. “Cruelty” Nilin P.
6. “Star Ticket” V. Aksenov
7. “Colleagues” V. Aksenov
8. Article ““Other” prose: a harbinger of a new art” by G. Belaya
9. “Leaders and advisors. About Khrushchev, Andropov and not only about them..." Burlatsky Fedor
10. “N.S. Khrushchev: Political biography” Medvedev R.A.

3.2. General trends in the development of Russian literature in the 40s - 90s of the 20th century.

Rus. liters during the Second World War. From the very beginning of the war, writers felt “mobilized and called upon.” OK. 2 thousand writers went to the front, more than 400 of them did not return. These are A. Gaidar, E. Petrov, Y. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young. Rus. The literature of the Second World War period became a literature of one theme - the theme of war, the theme of the Motherland. The writers felt like “trench poets” (A. Surkov), and all literature as a whole was “the voice of the heroic. souls of the people" (Tolstoy). The slogan “All forces to defeat the enemy!” unimportant applied to writers as well. The first word was spoken by the lyricists and publicists.

Poetry. Poems of the public. center. and fronts. print, broadcast on the radio along with information about important military and political events, sounded from numerous. improvisation scenes at the front and in the rear. Many poems were copied into front-line notebooks and learned by heart. Poetry “Wait for me” by Konstantin Simonov, "Dugout" by Alexander Surkov, “Spark” by Isakovsky gave birth to numerous poem answers. During the war years, a cordial contact unprecedented in the history of our poetry was established between the poets and the people. Spiritual closeness with the people is the most remarkable and exceptional feature of the lyrics of 1941-1945. In verse Tikhonova, Surkov, Isakovsky, Tvardovsky one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the awareness of the cruel necessity of war. Torn away from their favorite activities and native places, millions of Soviet people seemed to take a new look at their familiar native lands, at themselves, at their people. Show up soulful poems about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, about the Smolensk region by Isakovsky. In the lyrics of the war years, the character of the lyrical hero also changed: he became more earthly, closer than in the lyrics of the previous period. Poetry, as it were, entered into the war, and the war, with all its battle and everyday details, into poetry. The “landing” of the lyrics did not prevent the poets from conveying the grandeur of events and the beauty of the feat of our people. Heroes often endure difficult, sometimes inhumane things. deprivation and suffering: “It’s enough to lift ten generations // The weight that we lifted.” (A. Surkov) In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyrical-epic (ballads, poems). Quotes. 1. We know what is now on the scales // And what is happening now. // The hour of courage has struck on our watch, // And courage will not leave us. (“Courage”. Akhmatova) 2. In the mud, in the darkness, in hunger, in sadness, // where death, like a shadow, trailed on our heels, // we were so happy, // we breathed such wild freedom, // that our grandchildren would envy us. (“February Diary”. Bergholz) 3. Something very big and terrible, - // Brought with bayonets by time, // Does not allow us to see yesterday. // With our angry vision today. (“It’s like looking through binoculars upside down...” Simonov)

4. But at the hour when the last grenade // Is already in your hand // And in a short moment you need to remember at once // Everything that we have left in the distance // You remember not a big country // Which you have traveled and learned . // You remember your homeland - as it was // As you saw it as a child. // A piece of land leaning against three birch trees, // A distant road behind a forest, // A small river with a creaking ferry, // A sandy bank with low willow trees. (“Motherland”. Simonov) 5. She was wearing a faded tunic, // And her legs were sore they bled. // She came and knocked on the house. // Opened by mother. The table was set for dinner. // “Your son served with me in the regiment alone, // And I came. My name is Victory." // There was black bread whiter than white days, // And the tears were the salt of pickles. // All a hundred capitals shouted in the distance, // They clapped their hands and danced. // And only in a quiet Russian town // Two women were silent, as if dead. (“May 9, 1945.” Ehrenburg)

Prose. During the Second World War, not only poetry was developed. genres, but also prose. She is presented to the public. and essays. genres, war stories and heroic. story. The war dictated new rhythms of writing. work. From the pages of book publications, literature moved to newspaper pages and radio broadcasts. Writers strove to the front, into the thick of things, to be among those who entered into mortal combat with the Nazi invaders. Very diverse publics. genres: articles, essays, feuilletons, appeals, letters, leaflets. The articles wrote: Leonov, Alexey Tolstoy, Mikhail Sholokhov, Vs. Vishnevsky, Nikolai Tikhonov. In satirical The fascists were mercilessly ridiculed in the articles. Favorite satirical genre journalism became a pamphlet. Articles addressed to the homeland and people were very diverse in genre: articles - appeals, appeals, appeals, letters, diaries. Very common in 1943-1945 there was an essay about the feat of a large group of people. This is how it appeared essays on night aviation "U-2" (K. Simonov), about the heroic Komsomol (Vishnevsky), and many others. Most often, Marietta Shaginyan, Kononenko, Karavaeva, and Kolosov wrote about people on the home front. The defense of Leningrad and the battle of Moscow were the reason for the creation of a number of event essays, which are artistic. chronicle of military operations. This is evidenced by the following essays: "Moscow. November 1941" by Lidina, "July - December" by Simonov. During the Second World War, productions were also created in which the main attention was paid to the fate of man in war. Human happiness and war - this is how we can formulate the basic principle of such products as “Simply Love” by V. Vasilevskaya, “It Was in Leningrad” by A. Chakovsky, “The Third Chamber” by Leonidov.

Alexey Tolstoy after brilliant journalistic articles creates thin cycle “Stories of Ivan Sudarev”. Social atmosphere and lit. process of the post-war 10th anniversary (1946 – 1956). Resolution of the All-Union Communist Party of Bolsheviks on the magazines “Zvezda” and “Leningrad” and its role in the further development of literature. Post-war The 10th anniversary is the time of late Stalinism. The end of the war did not lead to the triumph of freedom and emancipation. personality. Meaning influence on society - lit life rendered. resolutions and reports of Zhdanov, especially the resolution on the magazines “Zvezda” and “Leningrad”. The resolution was directed against magazines "Zvezda" and "Leningrad"(Leningrad magazines), reason – publication Zoshchenko's story "The Adventures of a Monkey", the reason is the dissatisfaction of the management with the fact that the magazines regularly publish. produced by Akhmatova and Zoshchenko. The result is the persecution of Zoshchenko and Akhmatova, “Leningrad” is closed (one literary magazine is enough for Leningrad), in “Zvezda”, “Znamya”, “New World” more than once. replaced ch. editors, a new wave of arrests, struggles against cosmopolitans, objectionable press organs were liquidated, tightened. censorship, negative reviews of unwanted authors, etc. The beginning of the Cold War worsened. situation: published. production abroad eq. to the state treason. Follow. 2 main trends in literature: 1) the tendency to “conform” (more than 200 Stalin Prizes in regional literature; Bubennov “White Birch”, Polevoy “The Tale of a Real Man”, Pavlenko “Happiness”, Fadeev’s “Young Guard” twice rewritten, etc., mainly A common feature is the presence of a party leader/inspirer, discussions about duty, Motherland, etc.; poetic works also “corresponded”); 2) the tendency to preserve one's voice. But on the other hand, despite the tough... censorship, a turn in literature has begun. situations. Publication Nekrasov's story “In the Trenches of Stalingrad” (1946, “Banner”), the first production from the so-called. "prose of lieutenants" Tvardovsky finished. poem “House by the Road” (1942 – 1946). Even during Stalin's lifetime V. Ovechkin displays negative. desk type head of story "District everyday life". The story was taken for publication by Tvardovsky, then the editor of Novy Mir. But these are isolated cases. Genuinely artistic works are criticized; moreover, meetings of writers are held, at which everyone must “smash” and “brand” the offender, and demand publicly. repentance (as was the case with Zoshchenko), and those who disobeyed were also subject to condemnation.

Completed, started in the 30s. the process of forming a unified principle for depicting heroes, a unified approach to conflicts, and leveling language. Socialist realism is flourishing in the “correct” literature.

Main features and milestones of the literary-social process of the 56th – 80th years. The beginning of a new period of communications. with exposure cult of personality. This is watered. own reflection on cultural and societies. life. New magazines opened (“Youth”, “Literary studies”, “Neva”), on the page of “New World” the works of Solzhenitsyn and Dombrovsky were published; exit. almanacs “Lit. Moscow”, “Tarusa Pages” with poems by Tsvetaeva, Slutsky, Pasternak, Voloshin (although the almanacs were soon closed). The publications of Babel, Zabolotsky, and Zoshchenko were being prepared.

Prose. The most powerful reading. the shock was connected. from publication in 1962 in the “New World” Solzhenitsyn’s story “1 Day of Ivan Denisovich”(original name “Shch-282”). New material (the beginning of the “camp” theme), a new language (prisoners’ jargon) and new principles for depicting people. har-ra, thin. capacity, accuracy, author's expression. speech and language of characters. The story will be banned. in the 70s

Derevensk. prose. They will notice. artist reached connection with "village" prose (F. Abramov, V. Ovechkin, S. Zalygin, V. Shukshin; later - V. Rasputin, V. Belov, V. Astafiev). But critics also attacked them quite a bit. Der. prose dates back to the 50s. At the origins are essays by V. Ovechkin (“District Weekdays”, “Difficult Spring”). How to direct in the literature formed. during the thaw period, procreation. OK. 30 years. resorted to different genres: essays (Ovechkin, Dorosh), short stories (Yashin, Tendryakov, Troepolsky, Shukshin), stories and novels (Abramov, Astafiev, Belov, Rasputin). Has stood the test of time. those productions where they predominate. universal human Problems. Range of problems. Unfavorable village life (poverty, disunity, thoughtless directives, tick-box system). The villagers of the 50s and 60s have no doubt. as required by collective farms. But the show: exaggerated reports, orderly leadership. Cultural the level of residents is low, among young people - consumption. attitude towards life. The problem of de-peasantization (moving to the city). Each pissing – personal, blood connection with the village. at the same time, only reverse to modern, unnoticed people, others appeal. to the past, history was looking for a way to solve problems. A new stage in development. village prose - TV by Astafiev and Rasputin (they were even called “new village prose”, mid-70s). New problems are being introduced: ecology, caring attitude towards people, their home, long-term traditions (“Farewell to Matera” by Rasputin, “The Tsar Fish” by Astafiev).

Military prose. In military prose: almost simultaneously. G. Baklanov, Yu. Bondarev, V. Bykov, K. Vorobyov and others came to literature (“lieutenant’s prose”). “Trench” truth, human psychology in war, acute perception of life, a sense of responsibility for those around, etc. But continued. write bison like Simonov. Works: K. Simonov, epic novel “The Living and the Dead” (1 book 1955-1959, 2 books 1960-1964, 3 books 1965-1970); Boris Balter, story “Goodbye, boys” (1962); Vasil Bykov, story “Kruglyansky Bridge” (1968); Boris Vasiliev, story “The Dawns Here Are Quiet” (1969), Vyach. Kondratiev, story “Sashka” (1979), etc.

Confessional lyrical prose. Arose. such a phenomenon as a confessional, lyrical. prose (Aksenov, Gladilin, Voinovich). Both Aksenov and Voinovich subsequently. emigrate.

Poetry. 1950 – 1st almanac “Poetry Day” with poems by Tsvetaeva, Vasiliev, Slutsky, whose names were not even mentioned. These years were characterized by oral performances by poets in large halls, stadiums, and the Polytechnic University. Moscow Museum, Polytechnic. Institute of Leningrad. It was “loud” poetry with emphasis. social sound, journalistic (Yevtushenko, Voznesensky, Rozhdestvensky). Forsirov. journalisticism often led to declarativeness. Leningradsk. poetic the youth of those years ate. in the group of Gleb Semenov at the Mining Institute (Kushner, Gorodnitsky, etc.). For a long time poetry could not stay high. note. Refusal from “loudness” occurred. in the mid-60s (“I want silence, silence...Are my nerves burned?” - Voznesensky). Along with the youth cont. create Tvardovsky, Zabolotsky, Akhmatova, Marshak and others. But not everything is so rosy, of course. As a result, critical “discussions”, Abramov, Bykov and others were called slanderers and slanderers. Literat was closed. Moscow,” Pasternak was persecuted for publishing Dr. Zhivago in Italy and for awarding him the Nobel Prize. prize (accepting it was equated to treason). In the “liberal” years, trials of poets took place: Brodsky was tried for “parasitism”, for publishing in the West, for being anti-Soviet. Y. Daniel and A. Sinyavsky were arrested. In modern criticism, there continues to be an opinion that identifies two unequal concepts: poets of the sixties and “pop poetry”. At the same time, these two concepts are correlated as general and specific, because, as a rule, the second definition is applicable only to poetry, and to that channel of the mid-50s - early 60s, which was in demand during the “thaw” time. As soon as it arose, the term “pop” poetry (pop poets) acquired a negative connotation, which gradually intensified. As the poets, branded with the epithet “pop performers,” entered their mature age, strengthening their ideological and artistic positions. Some moved away from the variety experience (A. Voznesensky), others rejected it almost completely, as a passed stage of their creative evolution (B. Akhmadulina, Y. Moritz), for others the stage, the stage became the only form of self-expression (B. Okudzhava, V. Vysotsky, N. Matveeva). E. Yevtushenko, R. Rozhdestvensky, R. Kazakova, having cursed the stage as an unbearable lot, remained faithful to it forever. At the end of the 60s, a certain emphasis began to be felt in the use of the term, which so far consisted only in the fact that “pop” poetry began to be clearly opposed to “quiet” lyrics. The pronounced style characteristic of most post-war poets was intended, on the one hand, to cover up and obscure the specificity of ideas and, on the other hand, to demonstrate individual originality. But now it is clearly visible that in most poems of this kind there is thought, there is flesh, but there is no soul. And instead of the originality of the face, we see only an original manner, devoid of living poetic freedom. Gained widespread popularity art song genre, in which the author of the text, music and performer was, as a rule, one person. Official culture was wary of amateur songs; publishing a record or performing on radio or television was rare. The bards' works became widely available in tape recordings, which were distributed in the thousands throughout the country. The real rulers of the thoughts of youth in the 60s and 70s. steel B. Sh. Okuzhdava, A. Galich, V. S. Vysotsky.

Period of "stagnation". The trial of Y. Daniel and A. Sinyavsky (1966, for publishing works abroad, albeit under pseudonyms) is the beginning of the period that is commonly called. stagnation. They were tried for antisov. activity, agitation and propaganda. That's the name. they are not only officials, but also writers, even Sholokhov. But there were also opponents of the official. positions: letter from Lydia Chukovskaya to Sholokhov, message to the Congress of the Writers' Union, signed. 62 people - confirmation of this. One of the signs of the times is the departure of young people after universities to work as stokers and janitors, departure on expeditions - the beginning of dissidence. In the beginning. 70's leaving. country Solzhenitsyn, for involvement in the publication of the Metropol almanac. a whole group of talent. poets and writers. “Voluntarily” leaving. country Voinovich, Aksenov, Dovlatov, Aleshkovsky, Nekrasov and others.

Prose. The literature of this period is extremely diverse. on conflict situations. Trifonov, Kazakov, Belov, Abramov (then Makanin and Petrushevskaya) with all the plot. production prefers to difference. test your heroes with everyday life. Moreover, most often the heroes cannot stand this test. Read. difficult to open. the world is human. souls. The significance of little things and the difficulty of mutual understanding are revealed. The writer made his way through everyday life to the meaning of existence.

Bykov, Rasputin, Astafiev, Vorobiev, Dombrovsky, in stories about the past, about war, about peaceful life, more often placed heroes in the extraordinary. situations, exploring the capabilities of a person, the strength and weakness of the personal principle. Particular importance was attached to the fact of memory. The memory of the war returned Bykov’s heroes to their wartime selves, forced. rethinking. actions, the movement of the soul, established a connection between the past and the present ( Astafiev "The Shepherd and the Shepherdess"- incompatibility of love and war, irreversibility of morals. losses). Special brightly reflected crisis modern condition people in TV 3 he left early. from the life of a talented writers: Shukshin, Vampilov, Vysotsky. The literature of this period was presented by various. types of characters. The rustic characters are colorful. residents, soldiers, diverse characters of intellectuals, etc. Writers tried to reflect. atmosphere fear, for what is required. resp. form, Aesopian language, this helped to circumvent many prohibitions: irony, allegory, fairy tale, allegory, etc. During the same period, they were created. (but published later) books by Shalamov, Solzhenitsyn, etc.

Dramaturgy. A turning point in drama. started in lane Thaw: plays by Vampilov, Shukshin. The theory of non-conflict is being replaced by satire and anecdotal. situations, everyday life conditions, objectivity and dispassion of the author in relation to. to the heroes. Location more diverse: hotel, train carriage, courtroom, etc. The ending is not allowed. and did not remove the conflict. Confessionalism replaces journalism. Contributes to this. and narrowing of space and time, variability in the viewer’s perception of the hero’s fate, the hero’s ability to choose (plays by Rozov, Volodin, Zorin). But the production situation remains almost unchanged. drama: the heroes fight without a fight, their struggle does not meet. resistance, the conflict is reduced to edification. controversy.

State of Russian writers in the late 80s - early 90s. 1985-1990. 2 genders 80s – perestroika. Change of power and politics. course reflection in all areas of life. Bans on topics and names are lifted => problems that were not touched upon before are revealed: crime, prostitution, drug addiction, the Gulag, violence. collectivization, war in Afghanistan. Detained, silenced books are being returned and printed (the so-called “Return of Literature” - a process when the printing of prohibited works began again, new works of disgraced authors were published. In Soviet literature there were 2 large waves of “return”: 1956-1964 (thaw) and 1985-1990s (perestroika)). Published new productions on current issues. themes (“Fire” by Rasputin, “The Scaffold” by Aitmatov, “Sad Detective” by Astafiev - many works later lost their sharpness). An avalanche of semi-banned publications. and prohibited writers (Platonov, Bulgakov, Grossman, Zamyatin, memoirs of Prishvin, Chukovsky, Pasternak, Tvardovsky, etc.). Anti-Stalin mass. publications (moreover, until the early 90s, most of the exposure of Stalin was based on his opposition to Lenin; Lenin still remained an ideal). Even during the years of stagnation, such a phenomenon as postmodernism (Pelevin, Sasha Sokolov) and “other prose” (Tolstaya, Petrushevskaya, Ven. Erofeev) was formed. Those. The picture of literature has changed dramatically. Many literary scholars. books - research the fate of writers, etc.

1990s The rise of journalism at the turn of the 90s. influence on literature. The collapse of the Gosizdat system => a huge number of private commercial izdat-v. => Help for the development of literature. The influence is not politics, but the market. Huge attention is still paid to Solzhenitsyn and Shalamov, but now less. Such a phenomenon as “women’s prose” has developed (Petrushevskaya, Tolstaya, Ulitskaya, Shcherbakova, etc.). Can be mentioned. Kim, Pelevin and anyone else. Returning to the theme of the Second World War (Astafiev “Cursed and Killed”). Show. especially modern. prose – irony, grotesque.

Poetry. Poets who have seen the light (Levitansky, Dudin). Author's poetry trans. into rock poetry (Tsoi, etc.). In the poetry of relatively young people there are 2 extremes: 1) immersion. in a personal way. peace, philosophy lyrics of “pure seriousness” (I. Zhdanov, K. Kedrov); 2) anti-lyricism, anti-poetry (Prigov, Rubinstein). For modern times. youth (very young) character. anxious intonation, motive of ignorance, loss. Hood. mastery is tested in proximity to freely published books by Gumilyov, Khodasevich, Ivanov, Brodsky and others.

Dramaturgy."Blurred" hero, absent. logic in dialogues, intrafamily. conflicts have almost disappeared. action, tongue-tied characters, a lot of irony. Names of playwrights: N. Sadur, N. Kolyada, M. Arbatova.

How the world is changing! And how I myself am changing!
I am called by only one name, —
In fact, what they call me is —
I'm not alone. There are a lot of us. I'm alive.
Nikolay Zabolotsky

After Stalin's death (March 1953), the story was published Ilya Erenburg"Thaw" . The title of this work became a symbol of the new era in the history and culture of the USSR. The weakening of censorship, the opportunity to tell the truth, freedom of creativity and personal freedom - all this was associated with the beginning of the Thaw. With the famous report by N.S. Khrushchev at the 20th Party Congress, debunking Stalin’s personality cult, began a long and painful process of liberation from illusions and rethinking the tragic legacy of the past. In society and, accordingly, in art, the question arose of how to live on, how to prevent a repetition of the tragedy.

Back in 1948, a poem was published Nikolai Zabolotsky "Thaw" , which described an ordinary natural phenomenon, but in the context of the events that took place, it became a kind of metaphor for that time:

However, after the exposure of the cult of personality, the problem of responsibility of the country's leaders for abuse of power and for the death of millions of citizens arose. The direct successors of the Stalinist regime who remained in power were not prepared for such a turn of events. Therefore, the problems of man and society were raised in a very muted manner, often bypassing the censored media.

Sometimes the “thaw” gave way to real “freezes”. Banning of a satirical poem in 1954 Alexander Tvardovsky "Terkin in the next world" , which the poet himself defined as “the judgment of the people over the bureaucracy and the apparatus”; exception in 1958 Boris Pasternak from the Writers' Union after the publication of his novel in the West "Doctor Zhivago" ; scandalous attacks by N.S. Khrushchev in 1962-1963 on young artists and writers; the emergence of “hipsters” among young people demonstrating their protest against the stereotypes of behavior and uniformity in clothing, music and lifestyle adopted in the USSR; the roar of Soviet tanks on the streets of peaceful Prague; numerous trials of “dissident” poets ( Joseph Brodsky, Anna Barkova, Vasil Stus, Irina Ratushinskaya and many, many others) - all these and other events will forever remain in the history of this time.

In 1958, with the wording “For significant achievements in modern lyric poetry, as well as for continuing the traditions of the great Russian epic novel,” the Nobel Prize was awarded to Boris Pasternak. And in the USSR, a real persecution of the writer unfolded, which was popularly called: “I haven’t read it, but I condemn it!” Accusatory meetings demanding the punishment of the disgraced writer were held throughout the country, collective insulting letters were written against Pasternak, because the writer in the novel “Doctor Zhivago” “dared” to assert that human freedom, love and mercy are more important than any revolutions. Pasternak was forced to refuse the Nobel Prize. In 1959, he would write his visionary poem on this topic.

So gradually, instead of moving forward, the country gained “ stagnation" However, the “thaw” made many people think and sowed the seeds of doubt about the correctness of the leading party’s course. The art of that time still lived in hope. New themes and new names burst into cinema, fine art, music and theater, and, of course, literature.

In 1962, a story was published in the magazine "New World" Alexandra Solzhenitsyn "One day in the life of Ivan Denisovich" , in the center of which are reflections on the victims of Stalin’s repressions. You can read in detail about the fate of A. Solzhenitsyn and his works on the pages of this site.

Interest in human experiences turns out to be at the center of artistic creativity during the “thaw”. One of the most important themes that is revealed in the literature of this period is the truth of war. A look at the Great Patriotic War “from the inside”, reflections on the cost of victory are presented in many works of the 1950-1970s.

Works were published and promoted on the pages of magazines and books Konstantin Simonov, Alexander Tvardovsky, Valentin Kataev and others who talked about the heroism of the common man at the front and in the rear.

Understanding of the military theme is embodied in the works of Mikhail Sholokhov, Yuri Bondarev, Vladimir Bogomolov, Grigory Baklanov, Viktor Nekrasov, Konstantin Vorobyov, Vitaly Semin and others. A monumental trilogy by Konstantin Simonov is published "The Living and the Dead" (1959-1971), in the center of which are the fates of millions of ordinary people. Faith in the moral strength of man permeates the entire work.

The novel presents a completely different view of the war. "Life and Fate" Vasily Grossman, a famous writer who was born in Berdichev and studied in Kyiv. The path to the reader of this work was not easy. The novel, which has a pronounced anti-Stalinist character, was seized by the relevant authorities. At one time, one of the party ideologists promised Grossman that “Life and Fate” would be published no earlier than in 200 years.

A deep analysis of the psychology of a warrior is characteristic of prose Yuri Bondarev. In his works ( “Battalions Ask for Fire”, “Last Salvos”, “Hot Snow” ), showing individual episodes of military operations, the writer analyzes the behavior of a person caught in the crosshairs of war. A former artilleryman himself, who spent the entire war on the front lines, Yu. Bondarev conveys, as he himself said, “true details of life, events and the “air” of the era” with utmost accuracy, quite sparingly and restrainedly, without any pomposity or unnecessary pathos. He explained his creative style as follows: “...A writer, returning to the past, must write about it as about the present... Only then does the effect of presence, a moment of truth, a period of truth, if not the whole truth, arise.”

He masterfully describes his unshakable loyalty to his homeland and his incredible steadfastness in defending it. Boris Vasiliev in the story “And the dawns here are quiet...” , widely known for several films and an opera based on the plot of this work. B. Vasiliev continued the theme of war and the fate of the generation for which war became the main event in life in such works as “Not on the lists” , "Tomorrow there was a war" , "Burning bush" and etc.

The theme of what was experienced during the war, the trials that befell the ordinary person, is also reflected in poetry. In works Sergei Orlov, Yulia Drunina, Konstantin Vanshenkin, Evgeniy Vinokurov, Nikolai Glazkov, Egor Isaev and others, who developed the traditions of Russian classics, present both images of an unparalleled national feat, as well as the tragedy of the war and the wounds it inflicted.

At the same time, poetry acquired a kind of “second wind” Vladimir Lugovsky And Nikolai Zabolotsky, after arrests and camps returns to readers again Yaroslav Smelyakov, come to “high” literature Boris Slutsky And David Samoilov, who will say this about his experiences of those years:

In the second half of the twentieth century, many poets who made their mark back in the Silver Age continued to write. In 1956 Boris Pasternak begins his latest book of poetry "When it clears up" . In this period Anna Akhmatova creates pinnacle works (poems "Requiem", "Poem without a Hero" ), started a little earlier.

In the early 60s he released his first collection Arseny Tarkovsky. The poet recognizes only two values ​​as primary on earth - nature and creativity, and the poet himself is only a connecting link between the past and the future. This is what the poem is about "Muse" :

Since the mid-60s, many writers were forced to leave the USSR, among them a poet and future Nobel Prize laureate Joseph Brodsky, deeply experiencing his departure from the country. Brodsky's fate became the embodiment of a real confrontation between lies and cultural degradation. Until 1987 in the USSR, keeping his poems at home was not only considered reprehensible, but was punishable; nevertheless, his works were distributed in a way tested in Soviet times - with the help of “samizdat”. The poet will write about his fate in a poem “I entered a cage instead of a wild beast...” :

A new generation of writers came to the poetry of the “Thaw” period. They were called " sixties" A heightened sense of responsibility for the fate of the country distinguished these poets. They were even called “co-authors of the era.”

Works of young poets Bella Akhmadulina, Robert Rozhdestvensky, Andrei Voznesensky, Evgeny Yevtushenko and others reflected the spirit of the times. The “sixties” poets sought to comprehend the past and understand the present. Their sometimes cocky poems excited society and forced them to join in the dialogue. There were queues in libraries so that people could read their works. Poets took to the streets: poems were read in bookstores and clubs, schools and institutes, poetry evenings were held in concert halls. At the same time, each of the authors was distinguished by their own bright creative individuality. For example, high emotional intensity is characteristic of the poetry of E. Yevtushenko, deeply personal motives are reflected in the poems of B. Akhmadulina, civic spirit and extraordinary tenderness were inherent in the works of R. Rozhdestvensky, and the style of the young Voznesensky impressed with catchy metaphors and new poetic forms. All this was perceived as signs of spiritual renewal of the life of the country.

In the poetry of the “sixties” there was increased attention to the unique personality of the individual, to his inner “I”. This topic is brilliantly revealed by E. Yevtushenko in his poem “There are no uninteresting people in the world...” :

Researchers attribute the decline in popularity of the poetry of the “sixties” to disappointed expectations in a society in which disappointment and apathy were increasingly evident.

At the same time, the so-called "quiet lyrics". Critics contrasted this literary trend with “noisy,” “variety” poetry. Among the “quiet lyricists”, poets such as Victor Bokov, Vasily Fedorov, Alexey Prasolov, Vladimir Sokolov, Anatoly Zhigulin and others, as well as already well known to you Nikolay Rubtsov. “Silent Lyricists” are masters in creating landscapes. Verbal drawing of the state of man and nature, their organic fusion form the basis of this direction of poetry:

In the 1950s-1990s, works by writers of the post-war generation appeared on the pages of many literary magazines. Rethinking the experience of predecessors, as well as modern reality unfolding before the eyes of writers, was the focus of attention of Fyodor Abramov, Yuri Kazakov, Viktor Astafiev, Vasily Belov, Vasily Shukshin, Valentin Rasputin, Yuri Trifonov, Daniil Granin and many others. In literature there is a clear division into “urban” and “rural” prose.

Thus, one of the most significant and large-scale phenomena in the literature of the second half of the twentieth century was village prose. This literary movement was formed by the unity of the theme: the fate of the Russian village, Russian character in a situation of breaking the eternal national way of life. Heroes of works Viktor Astafiev, Fyodor Abramov, Vladimir Soloukhin, Valentin Rasputin, Vasily Shukshin and others were people of the passing twentieth century - ordinary old men and women of Russian villages. The “village writers” in their works reflected on the pride and dignity of the common man of the people, painfully told how time devalues ​​the real values ​​of the village world, analyzed why the Russian village, which suffered all the hardships and disasters of collectivization and wars, is losing its usual, established way of life for centuries.

The dramatic situation of a person in a village that rejects patriarchal, outdated norms of life and does not accept new ones, is explored in his stories Vasily Shukshin. “I am more interested in the history of the soul, and for the sake of identifying it, I deliberately omit a lot from the external life of the person whose soul worries me... The life of a person’s soul is his secret thought, pain, hope...”- this is how Shukshin defined the tasks of his work. According to his story " Red viburnum" the writer directed the film and played the main role in it. In the story "Slander" V. Shukshin sounds the main question of village prose: "What's happening to us?".

Most tragically, he presented his view of the village Valentin Rasputin in the story "Farewell to Matera" . In this work, the writer states that with the flooding of the village of Matera, the village House as such disappears into oblivion. The author shows the farewell of the residents of Matera to their Home, in which they lived not even decades, but centuries, sadness for their native Land, Russian village civilization.

In fact, “Farewell to Matera” symbolically completes the village prose of Russian literature: with the disappearance of Matera, the village theme also goes away.

One of the topics actively developed in the literature of that time was theme of Stalinist repressions and camps. In addition to A.I. Solzhenitsyn, left their evidence about this to readers Evgenia Ginzburg ("Steep route" ), Varlam Shalamov ("Kolyma Tales" ), Georgy Vladimov ("Faithful Ruslan" ), Anatoly Rybakov ("Children of Arbat" ), Yuri Dombrovsky ("Keeper of Antiquities", "Faculty of Unnecessary Things" ) and many others.

Thanks to the works Ivan Efremova (« Andromeda Nebula, The Razor's Edge, Hour of the Ox ), Alexandra Kazantseva ("Grandchildren of Mars" ), brothers Arcadia And Boris Strugatsky (“It’s Hard to Be a God”, “Monday Begins on Saturday”, “Inhabited Island”, “Roadside Picnic”, “Burden with Evil, or Forty Years Later” etc.) the genre is developing science and social fiction. Millions of people read these works, discovered “other worlds” and talked about the laws of evolution and historical progress.

The urban theme in literature in all its diversity was revealed in the works of Sergei Dovlatov, Vladimir Makanin, Vyacheslav Pietsukh and others.

Within the framework of the urban theme, women's prose, associated with the appearance of such names as Tatiana Tolstaya, Victoria Narbekova and others.

Thematic and genre diversity also differs dramaturgy of the 50-90s of the twentieth century . In 1954, at the Second Congress of Soviet Writers, Ukrainian playwright Alexander Korneychuk called on his colleagues to “write the truth of life,” “to see its difficulties, its contradictions, its conflicts, to reflect them truthfully and honestly in their works...” In dramatic works, perhaps for the first time, previously “forbidden” topics were openly raised. In plays Alexey Arbuzov, Victor Rozov, Alexander Volodin and others, they talked about demagogue leaders, about expulsion from the party, about removal from their favorite work for ideological reasons, and the psychology of the hero’s actions was revealed. However, literary criticism did not immediately accept this interest of playwrights in the inner world of man. “The life of the soul” also became the main theme in his work Alexandra Vampilova. In plays "Eldest Son" , "Duck Hunt" , “Last summer in Chulimsk” and others, the writer revealed important problems of “searching for oneself” in the life of a “little man” during a period of growing disappointment and alienation. Reflections on good and evil, on fidelity and love, reflected in the works of A. Vampilov, remain relevant today. It is no coincidence that his plays are still successfully staged on the stages of various theaters.

Following A. Vampilov, authors who were thematically close to his work came into dramaturgy, such as Lyudmila Petrushevskaya, Mikhail Roshchin, Alexander Galin, Lyudmila Razumovskaya and others, who in their plays developed complex moral problems, reflected a “morally sharpened” sense of life.

Since the second half of the 50s, it appeared in literature and quickly spread original song. This musical and poetic movement, which involves the author performing, usually with a guitar, his own works, was especially popular among young people. The original song has become a symbol of alternative culture. It combined high poetry and oral tradition (urban romance, parable, ballad and even anecdote).

Each of the bards conveyed their own special artistic world in their own way. Among the first such singer-songwriters, the most popular were Yuri Vizbor, Alexander Gorodnitsky, Yuli Kim, Novella Matveeva and, of course, Bulat Okudzhava, who is considered to be the founder of the original song. Bulat Okudzhava called his works not songs, but simply poems. Deep lyricism and spirituality, reflection and irony merged in Okudzhava’s poetry. The poet was called “the singer of the Arbat court,” who was rapidly fading into the past, just as the hopes associated with the “thaw” were melting away. Material from the site

Okudzhava’s songs were sung everywhere: on a hike and just around the fire, at home gatherings and at amateur concerts. Bulat Okudzhava explained the meaning of his work this way: “Music enhances the impact of poetry. And the circle of those interested in it is growing, poetry is spreading wider. Poetry with accompaniment has become a counterweight to entertaining pop songs, unspiritual art, and imitation of feelings. It was written by thinking people for thinking people. (...) The author’s song is a serious reflection on human life, maybe tragic, maybe poignant.”.

In the early 60s, he also came to the art song Alexander Galich, a poet accepted by the intelligentsia and persecuted by the authorities, banned by censorship and published in “samizdat”. Galich did not so much sing as he recited his works; with the help of music he created a real small theatrical performance that went beyond the scope of performing songs with a guitar. His songs were called the polyphony of the era. They mix lyrics with farce.

Alexander Galich created his songs full of bitterness, sarcasm and pain for the common man. They were widely distributed thanks to tape recordings and were opposed to Soviet officialdom. Many of his works were devoted to the problem of the relationship between man and government, which became the cause of persecution, bans and forced emigration.

Song creativity Vladimir Vysotsky- a striking phenomenon of the “unofficial” life of the era of “stagnation” - reflected the thoughts and feelings of the common man. Vysotsky’s songs are called the “Encyclopedia of Soviet Life”. In his works, the poet spoke about the most pressing problems of the day very accurately and without false pathos, therefore he found responses among millions of people. Recordings of V. Vysotsky's concerts were replicated on tape and passed from hand to hand. In many of his works one could easily see a hidden social subtext, a protest against the unsightly sides of Soviet reality, for example, as in the famous "Wolf Hunt" .

In one of his interviews, V. Vysotsky explained what an art song is: “...here one man with a guitar will stand in front of you all evening, eye to eye... And the author’s song relies on only one thing - that we are worried about the same problems, human destinies, the same as me. same thoughts".

In songs Viktor Tsoi ("Change!" , "War" , "Blood type" etc.) the theme of longing for unfulfilled hopes and loneliness sounded piercingly:

Another songwriter — Igor Talkov — spoke about V. Tsoi: “Earth —Sky.” There is a war between Earth and Heaven,” having sung this one line, Viktor Tsoi could no longer sing anything else. He said everything. Simple and brilliant."

The events of the 90s of the twentieth century with its rise and disappointment, opening up prospects, and the beginning of democratic processes put literature in the face of new dramatic changes and social contrasts. New names and works came to readers...

Thus, in the literature of the 50-90s, through the diversity of its trends and names, all the numerous changes, hopes and disappointments characteristic of that time were fully reflected.

We invite you, while reading works written during this period, to think about the lines Anna Akhmatova from "Poems Without a Hero" and decide for yourself the question,

The structure of the review section “Russian prose in the 50-90s” of the school curriculum on literature and the textbook for the 11th grade (4th ed., 1999, edited by V. P. Zhuravlev) includes a significant range of new for graduating class students, concepts and problems associated with the development of Russian prose over the past fifty years: the literary process, the “thaw” of 1953-1964, “returned literature,” the reunification of domestic culture and emigrant Russian literature, “village” prose, “ lieutenant" prose (works about the Great Patriotic War), "urban" (or "intellectual") prose, historical novelism, etc. Each of these trends in literature is associated with its own circle of authors and the titles of their books, which recreate a multi-layered picture of life, the fate of man and the fate of the Fatherland are comprehended.

The combination of compulsory reading of works included in the school curriculum with a wide reading choice allows us to consider a particular work of art in a certain literary context. The principle of contextual perception cannot but increase the intellectual level of school literature lessons. All this cannot be ignored when thinking through ways to study the broad review topic “Russian prose in the 50s-90s.” In our opinion, it is advisable to build a system of classes in this section on a combination of problem-thematic review with students’ independent reading of the literary text of the most significant works, with textual analysis of their most striking pages. It is fundamentally important to make the structure of school analysis akin to the artistic thinking of the author. From an artistic retelling and expressive reading of the most impressive fragments of a prose text to a class conversation, an abstract message, a lesson-seminar - this is the range of techniques and forms of working on a work.

In the review section “Russian prose in the 50-90s” we will highlight three topics: - “Prose about the Great Patriotic War of the 50-90s. " - "Village" prose of the 60-80s." - “The moral quest of prose writers of these years.” When conducting review lessons, we are faced with a lack of necessary books, so preparation for lessons usually begins in advance. The teacher, having concentrated all the works collected on the topic in the classroom, sets aside time for reading, and before class, with the help of the children, organizes an exhibition of books. The design of the exhibition and familiarity with it allow us to consider the topic against a fairly broad literary background. A plan for working on the topic, questions and assignments for students are posted on the work stand.

Key questions for the review of “Village” prose of the 60-80s.” 1. The concept of “village” prose. On what socio-psychological foundations did she grow up? 2. “A man of a hardworking soul.”

How do these words reveal the depth and integrity of the peasant’s moral world? 3. The life and fate of the Russian village in the history of post-revolutionary Russia: - “The Year of the Great Turning Point” and its reflection in the novels by M. Sholokhov “Virgin Soil Upturned”, B. Mozhaev “Men and Women”, V. Belov “Eves”. - The role of the Russian peasantry during the Great Patriotic War. - The fate of the Russian peasantry in the years of post-war hard times. Matryona (A. Solzhenitsyn. “Matrenin’s Dvor”), Aunt Daria (A. Tvardovsky. “By Right of Memory”), Katerina (V. Belov. “A Business as Usual”), Nastena (V. Rasputin. “Live and Remember”) - artistic discoveries of “village” prose. Questions for a general conversation: 1. Name the works of the 60-80s that are associated with the concept of “village” prose. Which ones have you read? 2. What do the biographies of writers who were commonly called “villagers” have in common? What dictated their interest in village life, in the fate of the Russian peasantry? 3. What place do lyrical landscapes occupy in the works of F. Abramov, V. Rasputin, V. Astafiev? Read them expressively. 4. Which heroes of “village” prose are drawn with obvious sympathy? How did they attract attention? 5. What meaning did the writers put into the words “lady”, “call of the earth”? 6. What is the meaning of the words: “Russia, which we have lost”?