The image of a grandmother in children's literature. The image of a grandmother in Russian culture

Introduction 2
Chapter 1. Grandmother through the eyes of her grandchildren. 3
Chapter 2. Grandmother and grandchildren. 6
Chapter 3. Grandma and me. 9
Conclusion 10
Bibliography. eleven

Introduction.

In the life of each of us there is a person who takes care of us the most, tries

to please, to give wise advice, to feed and pamper more closely. This person is a grandmother.

Often people underestimate grandmothers, believing that their views are outdated and do not correspond to modernity and the rhythm of life. In fact, the role of the grandmother is very great, since it is the grandmother who is able to raise a spiritually developed person, convey to him her life experience and her wisdom.

We believe that our topic is relevant because in modern society a grandmother is no longer an example for young people. For young people of the 21st century, the authorities are absolutely opposite heroes, often even negative ones. Is this correct? The relevance of research is due to the fact that the difficult period of transformation in our country, the ongoing rethinking of old values and the formation of new ones, brings to the fore the value of the individual. Of particular importance are the relationships between people and the form of expression of these relationships in society. The problem of spiritual values, which is relevant today for the entire Russian society, becomes particularly acute among young people, since the younger generation is most susceptible to the negative impacts caused by the crisis of spiritual values of Russian society.

Today, the issue of developing new technologies for education, upbringing and development of the student’s personality that meets modern social, economic, moral and educational technologies is relevant. The spiritual wealth of humanity, reflected in culture, is recognized by society as especially valuable, and personal culture becomes a socially significant quality. In this regard, the issues of proper education of the child’s personality arise especially acutely.

Research problem can be formulated as follows: determine what the role of grandmothers is in the process of educating the child’s personality.

Object of study – the process of influence of grandmothers on the formation of a child’s personality.

Purpose of our research- determine what the role of the grandmother is in the development and formation of personality, tracing this through the example of works of art and conversations with classmates.

In connection with this goal, it is necessary to solve the following tasks:

Study works of fiction dedicated to your grandmother.

Conduct a survey to identify the role of a grandmother in a person’s life.

Explain that the role of a grandmother in a person’s life is very important.

Subject of study– works about grandmothers, interviews with classmates.

Hypothesis Our research is to prove that the role of the grandmother in shaping the personality of the younger generation is very great.

Methodological basis The research included: works of Russian and foreign literature (M. Gorky “Childhood”, G.H. Andersen “Grandmother”, N.A. Nekrasov “Russian Women”, S. Kaputikyan “My Grandmother”), as well as a popular science book “The health of a child and the common sense of his relatives” by pediatrician E.O. Komarovsky.

Scientific novelty of the research is to determine the role of the grandmother in the process of raising the individual by analyzing works of fiction and the interviews received.

The results of the study can be used in the development of practical recommendations for teachers, educators, and social workers in preparation for parent-teacher meetings.

Goals and objectives determined the choice of the following research methods : analysis of popular science literature, works of fiction, survey, questionnaires, individual conversations (interviews), statistical methods for processing research and testing hypotheses.

Work structure. The work consists of an introduction, three chapters, chapter-by-chapter conclusions, a conclusion, and a list of references. The list of used literature contains 7 sources.

Chapter 1. Grandmother through the eyes of her grandchildren.

Once in some social environment, a person begins to pay attention to the behavior of others and the assessment of his actions. He strives to understand and predict how the outside world will react to certain of his actions. Here, sociocultural experience begins to play a huge role, which is acquired by a person, first of all, thanks to the family. It is here that the created and accumulated culture is transmitted from one generation to another.

“It is simply pointless to deny the enormous role of grandmothers in raising the younger generation. In our country, this is doubly senseless, since the overwhelming majority of young families are generally unable to provide normal care and upbringing for their children without the help of their grandmothers.

Taking into account the points listed above, the following fact becomes obvious: the very concept of “grandmother” may well be considered not as a specific person, but as a very significant social phenomenon that requires separate study,” writes the famous pediatrician E.O. Komarovsky in his book “ The health of the child and the common sense of his relatives.” For many years, the author has been in close contact with grandmothers. His conclusions are clear: without taking this phenomenon into account, it is almost impossible to organize normal care and upbringing of children.

As you know, the modern family differs from the traditional one: since the end of the 19th century. The historical development of the Russian family in all areas followed the path of reducing the number of children in the family, reducing the number of relatives with whom close relations were constantly maintained. The share of traditional multigenerational families in modern Russian society is steadily declining. The role of women in the family and society has also changed in many ways. Nowadays, most mothers, for various reasons, have ceased to be exclusively involved in raising children and housekeeping. They work more often and strive to realize themselves in professional activities. Modern grandparents mostly lead an active social life (they continue to work until retirement and after; not everyone is ready to devote themselves to raising their grandchildren).
All these changes are reflected in the development of the child, primarily in the sphere of morality, as evidenced, in particular, by the increase in child cruelty and juvenile delinquency.

In this regard, there is a need to study the significance in modern society of the spiritual and moral function as the preservation and transmission of family traditions, experience, information about family roots, history, family values and attitudes, and the extent to which it relates to the functions of the grandmother in the family.

Research on the family and its role in the development of the child is, as a rule, limited to the study of child-parent relationships and, to a greater extent, the influence of the mother on the development of the child. However, recently, studies have begun to appear on the role of grandparents (grandparents) in the family, but they are mainly limited to the influence of grandmothers on the emotional sphere of their preschool grandchildren, for which projective methods are often used (“Family Drawing”, etc.). The importance of grandmothers on the development of a child at an older age has not been studied enough, from our point of view.

Therefore, we interviewed students in grade 9I, in which we asked the following questions:

How does a grandmother influence the upbringing of her grandchildren?

In what areas of a person’s life does a grandmother play the greatest role?

What determines the main content of communication between the older and younger generations (the level of education of the grandmother herself, the ethnic environment in which she lived, or whether the grandmother lived in the family)?

10 interviews were conducted, of which 8 were selected in accordance with the objectives of the study.

Summarizing the data obtained, we can identify several psychological mechanisms through which the older generation influences young people. The main pedagogical techniques used in the process of education by grandmothers include the following:

Receiving reinforcements. Behavior that is considered correct is rewarded, and violation of established rules is inevitably followed by punishment. This allows the formation of an internal need to comply with the system of norms. Here is what a student whose grandmother lives in the village says: “My grandmother tried to talk to us in Chuvash, or pretended that she didn’t understand anything. But in Russian, sometimes she just didn’t want to answer at all, “pelmestep” - “I don’t know” or “ onlanmar" - “didn’t understand,” that is, she had to say something in Chuvash. Well, of course we resisted, well, we did it for candy.” Another girl said: “Granny never forgets to thank me, if I do something at her request, I will definitely hear words of gratitude or often receive a sweet prize.”
Identification technique: the child imitates his grandmother. “All I got from her was just a personal example, I just look at her line of behavior and draw my own conclusions.”
Reception of advice or assessment: as a child or teenager grows up, he is faced with the need to solve an increasingly wider range of problems, discussing their solutions, the grandmother shapes the young person’s self-awareness and his communicative qualities. Students often said that grandma always makes her assessments of everything: friends who come to visit, my hobbies. Communication of this nature is not always positive: “...we have a parallel telephone, she (grandmother) always listened to my conversations. When I came to her to swear: “Grandma, what’s wrong?” - She told me the following: “Well, I’m a grandmother , I have to be aware of everything! Well, how can you hide something from me?" In general, it infuriates me. She still does this, but now I have already learned to communicate with her..."
Among the special pedagogical techniques for raising granddaughters, one can highlight the method of comparison: “Grandmother always cited me as an example to her grandchildren, my other brothers” or “Meeting relatives, neighbors, conversations always started about the children of these grandmothers, how they live, how their life is built.” family, we listened to all this, how people live, what kind of family these people have, what kind of family those others have. And the grandmother then said: “You see, what kind of family, here she has, there, such and such a grandmother, she has a daughter with her husband lives well, no one swears." We were present, listened, and our mother listened and often sighed."
Design technique: “We had evenings when our parents weren’t there, and grandma was cooking dinner and peeling potatoes, for example, and she started telling me: “Well, you’ll grow up, you’ll have a lot of friends, and on your birthdays we’ll get out beautiful dishes, crystal, we will set the table like this...” And I really loved it when she told it all: “guests will come, we will cook.”

Responsiveness to certain methods of education and the effectiveness of their use mainly depend on the emotional tone of family relationships. After all, the basis of any communication to one degree or another is trust in the interlocutor.

The boundless, inexhaustible love of grandmothers allows not only to increase their influence on their grandchildren, but also to instill responsibility for the older generation. "... She says: granddaughter, come there, help plant potatoes... and I will go... she loves me, I love her - we need to help."

However, the content of preschool education varies depending on the skills that the grandmother has. For example, a grandmother with a higher education in foreign languages taught her granddaughter English from the age of 4.

It is interesting that the teaching of the Chuvash language also took place primarily in the preschool period. “The main thing for my grandmother is that I speak Chuvash” - this fact was noted in one way or another by all the grandchildren whose grandmothers live in the villages of our Republic.

According to young people, grandmothers took a very active part in the process of their preschool education. “Even before I went to school, I already knew how to read and write, that is, I was taught to do this... My mother worked, my grandmother was mainly involved in my upbringing... even before I went to school, all sorts of games were played with me "There were developmental blocks, all these construction sets, we read books a lot. I remember they would get me a stack of books, put them in front of me, I would sort through them, first leaf through the pictures, then I would start reading something myself."

In most cases, the decision regarding the child's out-of-school education was made by the parents. - “... My mother was primarily involved in my education, and my grandmother, as it were, was not particularly allowed...” or “... it was a joint family decision.”

The main significance of the grandmother’s role in the process of out-of-school education is to bring the family initiative to life. Here is an example from an interview: “...at first I studied at a music school, and I didn’t want to study music, as expected, 2 hours a day, and my grandmother studied with me...”

Grandmothers continue to be loving and caring nannies even when their grandchildren are in school and even when they become students. They take their grandchildren to school, look after their food, their clothes, etc. “My grandmother fed me breakfast before I went to school. And besides, since my mother and I tend to sleep, she woke me up before I had to leave for school.” “The most important thing for grandma was that they fed me, gave me something to drink, and to the fullest extent, that there was first, second, and third... that they wrapped me up tightly so that I wouldn’t catch a cold! Grandma treated me intensively, smeared me with these terrible turpentine ointments. I still use them to this day. I remember now! "

If a grandmother lives in a family, her influence on her grandchildren increases many times over. When an elderly woman lives with adult children and grandchildren, then 3/4 of the elderly consider themselves to have the right to dictate their will to the family environment. The leading role of the grandmother in the family was confirmed by all the grandchildren who live together.

The influence of a grandmother’s behavior model in her own family on the style of family behavior that will be formed in her grandchildren is enormous. Here's how one of the schoolgirls talks about it: “One of my grandmothers taught me that I should be completely different from my mother. That is, how she behaves in her family, what kind of mother she is, what kind of wife she is - that’s how she would be.” this grandmother did not want to see me. My other grandmother... looking at her, I tune in to this wave: I am a girl who will happily marry a loved one, who will live happily for as long as they have allotted and give birth to children in happiness, this will not be without life has problems, but it will be great." This, oddly enough, is confirmed by the story of one of the grandchildren: “... in their family there is an impression that her grandfather is to blame all around, her grandfather is cross-armed, his grandfather is here, his grandfather is here... I have a grandmother who is very authoritarian and has a passion for the authoritarian style instilled in me. That is, I believe that a family should be authoritarian, and if the head of the family said that it would be so, then that is how it will be, and arguing with him is a pointless matter...”

Another component of the grandmother's role is to preserve or not preserve the integrity of the parental family of grandchildren. “Grandma, for the sake of the children, when there were conversations about getting a divorce, everything, she said: “No, how will they live without a father.” This stopped my mother in many ways.”

Grandmothers strive to introduce their grandchildren to their understanding of religion. Faith in God, observance of certain rituals (fasts, etc.) contribute to the preservation and maintenance of the boundaries of one’s ethno-cultural field. There is a transfer of some symbols of faith: “... grow up, child, but don’t forget about God. I started wearing the cross only because of them.” The ethnocultural traditions of the family are reflected through the transmission of certain culinary recipes and even household duties.

Also, according to the students, their grandmothers did not take an active part in the formation of their friendly environment, which distinguishes them very favorably from their parents, who always choose who they can be friends with and who they cannot.

So, let's summarize. The main areas of interaction between grandmothers and grandchildren, in which the grandmother has the strongest influence, are the spheres of family and education of grandchildren. The period of grandmothers' most active involvement in this process is the stage of preschool and primary school education. The importance of grandmother increases when grandmother lives in the family. The role of the grandmother is

1) transfer of your own skills;

2) implementation of parents’ decisions in the process of developing the grandson’s personality, his creative talents and abilities, his hard work;

3) care for the grandchildren themselves and the integrity of their families;

4) transferring models of family behavior by example;

5) maintaining the unity of their socio-cultural environment and the transmission of their own religious views.

Chapter 2. Grandmother and grandchildren.

Next, we decided to study works of fiction and documentary facts in which the grandmother influences the upbringing of her grandchildren. This is primarily the story “Childhood” by M. Gorky, the story “Grandmother” by G.H. Andersen, documentary information from the life of the real grandmother M.Yu. Lermontov and the life of the grandmother of the author of the work, Gulyaeva Alexandra.

My grandmother always says that little children cannot lie. But I think that old people, like little children, are truthful in their old age. My grandmother was born in a small town in Nizhny Novgorod, into a large and poor family.

Alyosha Peshkova’s grandmother Akulina Ivanovna from M. Gorky’s story “Childhood” also lived in Nizhny Novgorod. Alyosha was four years old when his father died. After the funeral of Alyosha's father, his mother and grandmother, who came to them in Astrakhan, decided to return to Nizhny Novgorod, where Alyosha's grandfather lived. A trembling, still unconscious love was aroused in the boy by his grandmother, Akulina Ivanovna. A man of a rich soul, colorful appearance, possessing the wisdom that is characteristic of the Russian people.

Alexey saw his grandmother for the first time when she was “in her sixth decade of summer and spring.” No one could perceive the world around her the way her grandmother perceived it. From the shore floating past, from the domes of churches sunk in the sky, she could cry or laugh. And who else could tell the boy such tales that the hardened bearded sailors asked: “Come on, grandmother, tell me something else!” For Alyosha Peshkov, grandmother became the light that everyone should have in life. She became his most faithful friend, “the most understandable and closest person.” “She was all dark, but she glowed from within... with an unquenchable, cheerful and warm light.”

While reading this work, we noted that these grandmothers are very similar in appearance. This is what the story says:

“She spoke in a special way, singing the words, and they easily became stronger in my memory, like flowers, just as affectionate, bright, juicy. When she smiled, her pupils, dark as cherries, dilated and flashed with an inexpressibly pleasant light, her smile cheerfully revealed white, strong teeth, and, despite the many wrinkles in the dark code of her cheeks, her whole face seemed young and bright. She was all dark, but she glowed from within - through her eyes - with an unquenchable, cheerful and warm light. She was stooped, almost hunchbacked, very plump, and she moved easily and deftly, like a big cat - she was as soft as this affectionate animal.

It was as if I was sleeping before her, hidden in the darkness, but she appeared, woke me up, brought me into the light, tied everything around me into a continuous thread, wove everything into multi-colored lace and immediately became a friend for life, the closest to my heart, the most understandable and dear person - it was her selfless love for the world that enriched me, saturating me with strong strength for a difficult life.” (She very often told me fairy tales. She told fairy tales quietly, mysteriously, leaning towards my face, looking into my eyes with dilated pupils, as if pouring strength into my heart, lifting me up. She speaks as if she is singing, and the further you go, the more complex the words sound It is inexpressibly pleasant to listen to her).

I would describe my grandmother like this: She is short, colorful, bright in appearance. She has very clear blue eyes, and almost white gray hair. Her nose is very neat, although not small. A smile suits grandma very well; when she smiles, her face becomes so sweet, almost childlike. She has the wisdom that is characteristic of the Russian people.

Alyosha learned selfless love from his grandmother, since his grandfather’s family, where he unwittingly ended up, lived according to the harsh rules established by his usurper grandfather. It seems that from time to time there is a glimpse of a kind person in him, but the shell snaps shut... and don’t cross, otherwise the reprisal will be with rods. The grandmother knew her grandfather’s character well and was not afraid of him, unlike other family members. She could become a mountain for anyone if her grandfather was wrong.
The house was filled with her warmth, her love and light, living energy. She put her whole soul into caring for her children and grandchildren. The unwanted Gypsy, thrown under the gate of the house, was accepted by the grandmother as if she were her own, she fed the boy and left him. Working from dawn until late at night around the house, my grandmother saw everyone and everything that happened around her, paying attention to everyone who needed her.

My grandmother endured a lot of grief and hardship in her lifetime. The grandmother and five other children were raised by one mother; their father abandoned them immediately after the war. (Grandmother was born on July 15, 1948; at the age of 3, she and her family moved to Cheboksary). Her childhood and youth took place in the post-war period. At the age of sixteen she went to work. She got married early and gave birth to two children. (She was and is still loved by her husband). My grandmother faced many trials, but she always, like a flexible tree after a storm, found the strength to straighten up and carry her burden further through life.

First she raised her children, and now she is raising us - her grandchildren!

It would seem that life’s adversities and storms should have ruined my grandmother’s character, turning her into an unfriendly and bitter person.

But my grandmother, although a poorly educated woman, has a tenacious worldly mind and a kind, sympathetic heart. There is absolutely no anger or envy in her.

Grandmother has a restless character. She loves to sing, loves cinema, knows how to listen to other people, is interested in telling all kinds of fairy tales and fables, and composes ditties.

Akulina Ivanovna from the story by M. Gorky was also a wonderful person, unlike others, and this was especially noticeable when her grandmother danced.

“Grandma didn’t dance, as if she was telling something. Here she walks quietly, thoughtful, swaying, looking around from under her hand, and her whole large body sways hesitantly, her legs carefully feel the road. She stopped, suddenly frightened by something, her face trembled, frowned and immediately shone with a kind, welcoming smile. She rolled to the side, giving way to someone, moving someone away with her hand; lowering her head, she froze, listening, smiling more and more cheerfully - and suddenly she was torn from her place, spun like a whirlwind, she became all slimmer, taller, and it was impossible to take your eyes off her - she became so wildly beautiful and sweet in these moments of the wonderful return to youth!

And her heroism during the fire? She was equal to the elements. Both the flame and the grandmother fought for the workshop. Who will win. She saved what was dear to her, was her home, her household; the fire burned what it considered its prey.

But the grandmother was not at a loss, but gave commands in a stern, strong voice. At that time, grandfather was howling softly. Then the grandmother remembered that copper sulfate had been left in the workshop, which could explode at any minute. She bravely threw herself into the fire and brought out a bottle of this liquid. Akulina Ivanovna and the frightened horse Sharap were able to calm down. How not to remember the lines from Nekrasov’s poem “Russian Women”:

There are women in Russian villages

With calm importance of faces,
With beautiful strength in movements,
With the gait, with the look of queens, -
Wouldn't a blind person notice them?
And the sighted man says about them:
“It will pass as if the sun will shine!
If he looks, he’ll give me a ruble!”
They go the same way
How all our people are coming,
But the dirtiness of the situation is wretched
It doesn't seem to stick to them. ...

And indeed, the fire was extinguished, the grandmother received burns, but also found words of consolation for others.

M. Gorky went through the school of generosity and severity, love and malice, but all his life he tried to analyze his actions, give love, and educate himself. And thank fate that he had such a wonderful grandmother.

Grandmother is an important person in everyone's life. This becomes especially relevant when the grandmother has to replace some important person in the child’s life. Let us remember Elizaveta Alekseevna Arsenyeva, the grandmother of Mikhail Yuryevich Lermontov.

Elizaveta Stolypina was born into a wealthy and very famous noble family in Rus'. She was the eldest daughter of Alexei Emelyanovich Stolypin, an economical and wealthy man. Together with his wife Maria, they raised and raised eleven children, among whom there were later famous leaders of the nobility, great military leaders and even senators. Elizabeth, who inherited all the best traits from her parents, grew up to be a sensible and businesslike woman, with an uncompromising and strong character. But fate destined her for the traditional female role of mother and wife.

Lisa was not a beauty, but a rich dowry, good reputation and noble family played their role. At the age of 22, she marries a charming and very wealthy groom, Mikhail Vasilyevich Arsenyev.

Despite the fact that immediately after the wedding, Arsenyev acquires the Tarkhany estate in the Penza province for a happy and peaceful family life, the relationship between the spouses does not go well. The birth of her daughter Mary seriously undermines Elizabeth's health, and this brings even greater discord into the relationship between the spouses. She decides to devote the rest of her life to her daughter Maria. Elizaveta Alekseevna looked after her so selflessly that when, at the age of 17, Masha decides to marry the poor but charming Yuri Petrovich Lermontov, her mother blesses this marriage, despite her dislike for her future son-in-law.

On October 15, 1814, the future great poet Mikhail Lermontov was born. Despite the birth of a son, family relationships are becoming increasingly tense, and the constant confrontation between mother and husband drains Maria Mikhailovna’s strength. At the age of 22 she dies of consumption.

Using her financial situation and burning with fierce hatred for her son-in-law, Elizaveta Alekseevna takes little Misha into her care. In order to give her grandson a proper education, Elizaveta Alekseevna moves with him to Moscow.

In 1837, Lermontov's daring poetry criticizing the imperial order aroused discontent among the authorities. Only thanks to his grandmother’s connections, Mikhail does not end up in hard labor, but gets away with being sent to serve in the Caucasus with the rank of officer. Throughout his stay there, Elizaveta Alekseevna knocked on the doorsteps of the authorities with pleas for pardon for her grandson. It was during this activity that in 1841 she heard the news of Mikhail’s death. This event completely undermined her health, she stopped seeing the meaning and purpose of her future life and died in 1845.

My grandmother is no less a wonderful person.
etc.................

Kharitonov Nikolai Nikolaevich

Project Manager:

Lvova Natalya Anatolevna

Institution:

MBOU "Secondary school No. 8" Vyksa

In progress research work on literature "The image of the grandmother in the stories of V.P. Astafiev as the personification of the qualities of the people's character" A 6th grade student set a goal to study and describe ways of creating the image of a grandmother in the stories of V.P. Astafieva.

In a research work on literature “The image of a grandmother in the stories of V.P. Astafiev as the personification of the qualities of a people’s character,” the author examines the definition of the word “grandmother” and the role of grandmothers in the education of famous writers.

In the proposed literature project “The image of the grandmother in the stories of V.P. Astafiev as the personification of the qualities of the people’s character,” the author proposed a list of ways to create the image of the grandmother in works of art, as well as the results of the analysis of the image of the grandmother in the fairy tales and stories of V.P. Astafieva.

Introduction
1. The concept of the word “ ».
2. The role of grandmothers in the education of famous writers.
3. Ways to create the image of a grandmother in works of art.
4. Book by V.P. Astafieva " Last bow».
5. Research materials.
5.1 The image of a grandmother in the works of V.P. Astafieva.
5.2 The image of a grandmother in fairy tales.
5.3 Questionnaire.
6. Research results
conclusions
Conclusion
Literature

Introduction

Grandmother! Grandmother!
I'm trying to resurrect the guilty one before you
remember you, tell people about you.
V.P. Astafiev

There is a bright face in our soul that always attracts, is always infinitely dear. For V.P. Astafiev, this light was his grandmother. He considers her his main educator. The image of Ekaterina Petrovna runs through the entire book “ Last bow”, is its core.

Everything in this image is touching: rare hard work, a gentle disposition, boundless kindness, high justice, tears of tenderness and hope for reward in the next world for earthly torment. And most importantly - ineradicable active love for the orphan - grandson. Viktor Petrovich creates the image of a grandmother, who is the personification of the best qualities of the Russian folk character.

Today it is somehow not customary to make grandmothers heroes of literary works. We are increasingly seeing in modern literature various mythological images that are not capable of awakening good feelings in children. It is important to understand why the image of the grandmother created in the works of V.P. Astafiev, will forever remain the example that is capable of presenting to each of us " lessons of kindness».

Therefore, my research is quite relevant today.

Goal of the work: study and describe ways of creating the image of a grandmother in the stories of V. P. Astafiev

Tasks:

Describe ways to create the image of a character in a work of fiction.
Re-read the stories of V.P. Astafiev “Zorka’s Song”, “Monk in New Pants”, “Trees Grow for Everyone”, “Horse with a Pink Mane”.
Analyze the image of the grandmother in the stories.
Analyze the creation of the image of the grandmother in Russian folk tales.
To prove that the image of grandmothers contains the best qualities of the people's character.
To study the role of grandmothers in shaping the personality of poets and writers.
Conduct a survey among students on the topic.

Subject of study: methods of creating a character image used by V.P. Astafiev.

Object of study: the image of grandmother Katerina Petrovna in the stories of V.P. Astafiev.

Hypothesis : the role of grandmothers in the development of many Russian poets and writers is very great, which means that works where the character is a grandmother have a positive effect on the upbringing of children.

Research methods :

working with primary sources;
comparison and analysis;
descriptive method;
study;
survey.

The relevance of research : the appeal to the work of V.P. Astafiev is due to the extraordinary personality of the writer himself, as well as the recent increased interest in his works, which teach us wisdom, mutual understanding and forgiveness.

Purpose of work - a manual for teachers and students,

Novelty of the work: systematization of material about the role of grandmothers in the lives of great writers

Practical significance: The work can serve as a guide for students and teachers of literature, MHC, during extracurricular activities, and can also be used by the school library.

1. The concept of “grandmother”

« old woman" or " father's or mother's mother in relation to their child"1. It turns out that in different countries the word " ” is not only pronounced differently, but also takes a different social position in relation to grandchildren.

For example, American grandmothers do not live under the same roof with their grandchildren; they have their own lives. They come to visit and give gifts.

In France, no one considers grandmothers to be grandmothers; they are very active, like to dress smartly, organize meetings and evenings with friends. In Spain, grandmothers do not babysit their children at all. Never! A woman devotes all her free time to herself.

Therefore, it is mainly private nannies who work with little Spaniards. And only in Russia is it difficult to imagine a family without a grandmother. The Russian grandmother takes an active part in the lives of her children and grandchildren.

Yes, the word " " exists in all languages, but only in Russian it is filled with a special meaning. After all, grandmothers are a feeling of a happy childhood!

2. The role of grandmother in raising famous writers

Grandmother is an important person in everyone's life. This becomes especially relevant when the grandmother has to replace the parents in the child’s life. Let us remember Elizaveta Alekseevna Arsenyeva, the grandmother of Mikhail Yuryevich Lermontov. Elizaveta Stolypina was born into a rich and famous noble family. She was the eldest daughter of Alexei Emelyanovich Stolypin, an economical and wealthy man. But fate destined her for the traditional female role of mother and wife.

Having lost her daughter early, she began to take care of her little grandson, Misha, the future poet Mikhail Lermontov. Elizaveta Alekseevna was very worried about her grandson. She took him to the Caucasus more than once and hired the best teachers. In his adult life, taking advantage of her influential position, she tried to save him from punishment. Having learned about the death of Mikhail in 1841, the woman finally weakened in health, ceased to see the meaning and purpose of her future life, and died in 1845.

Another famous writer Maxim Gorky (Alyosha Peshkov) in his biographical story talks about his grandmother Akulina Ivanovna Kashirina. She was the only person who illuminated the writer’s difficult life path. Gorky absorbed all the poetry and national character, which became the basis of his autobiographical trilogy.

In the life of Alexander Sergeevich Pushkin there were two grandmothers who raised him. Maternal grandmother - Maria Alekseevna Hannibal. She surrounded her beloved grandson with maternal attention and was his first mentor in mastering the Russian language. Young Pushkin listened to her stories about the blackamoor of Peter the Great.

For A.S. She was the closest person to Pushkin. From her, the future great poet heard family legends, which were later reflected in his work: the unfinished novel “ Arab of Peter the Great», « Plans for a story about Sagittarius", in the poem " Yezersky", V " My ancestry».

Another grandmother - Yakovleva Arina Rodionovna - nanny A.S. Pushkin. It was from her that the poet first heard about the hut on chicken legs, and the fairy tale about the dead princess and the seven heroes, and it was to her that he dedicated his poems. Another example is V.P. Astafiev, his grandmother was also involved in his upbringing.

How often teenagers underestimate their grandmothers and believe that their views are outdated and do not correspond to the modern rhythm of life. In the 21st century, grandmother is no longer an example for young people. Modern young people have completely different authorities, different heroes, often negative ones.

And therefore my research is quite relevant today. I set myself the following goal: to study and describe ways of creating the image of a grandmother in stories from the collection “The Last Bow” by V.P. Astafieva.

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THE IMAGE OF GRANDMOTHER IN PAVL SANAEV’S STORY “BURY ME BEHIND THE SKIRTINTH”

Morozova M. V.

Full name, position of scientific supervisor: Gaidukova Evgenia Borisovna, associate professor of KSPU named after. V.P. Astafieva

Title of the report: The image of the grandmother in Pavel Sanaev’s story “Bury me behind the baseboard.”

Place of study, class: School No. 10, 11th grade

P. Sanaev began writing his now famous book “Bury Me Behind the Baseboard” while still at school, basing it on some episodes of his childhood and memories of life with his grandparents. But this book is not a document or a memoir, but a real work of art, its heroes are full-fledged artistic images, literary types. That is why the story “Bury me behind the baseboard” so quickly ceased to be just a book, and was successfully realized in various media environments (film directed by S. Snezhkin, theatrical production directed by I. Konyaev, as well as a number of provincial productions). And each of these implementations caused, in turn, a flurry of reviews and reviews, laudatory and indignant, but always very emotional. Getting acquainted with a lot of similar articles (mainly on the Internet), we noticed that most of the authors reflect on the figure of the grandmother, her fate, her behavior, and influence on the boy Sasha. That is why we first of all focused our attention on the complex, contradictory image of grandmother Nina Antonovna.

Recently, there has been an increased interest of modern readers and viewers in the work of the talented writer and director Pavel Sanaev; at the same time, there are no serious literary works devoted to his work yet. At the same time, in the story “Bury Me Behind the Baseboard,” Sanaev poses eternal problems, in demand at all times, - the problem of love, forgiveness, loneliness, human relationships, that is, eternal human values.

To conduct a holistic analysis of the image of the grandmother, it was important for us to make typological connections with the characters of Russian literature of the 18th - 20th centuries. Classics, depicting the world of family in their works, often turn to this image. Most often, the grandmother appears next to those heroes who are deprived of maternal affection and care. In such cases, the grandmother is called upon to replace the hero’s mother, to become the key to his spiritual development (for example, grandmother Berezhkova in I. Goncharov’s novel “The Precipice”, grandmother Akulina Ivanovna in M. Gorky’s story “Childhood”, grandmother Katerina Petrovna in V. Astafiev’s book “The Last bow"). But, naturally, this does not always happen - some authors deny the grandmother the role of a second mother (Countess-grandmother Khryumina in A. Griboedov’s comedy “Woe from Wit”). The image of grandmother Nina Antonovna in S. Sanaev’s story is dual: outwardly, she really is raising her grandson Sasha, replacing his mother, but in fact, the boy’s life in her house is like a nightmare.

Carrying out a holistic analysis of the image of Nina Antonovna’s grandmother, we examined several key techniques and artistic means that the author used to create it. Thus, we identified the following techniques: portrait of the heroine; the objective world surrounding her; grandmother’s behavior and actions, her speech, facial expressions and pantomime; relationships with your loved ones (influence on them), as well as attitude towards love. We found that to create one of his central characters, P. Sanaev used the same techniques that were developed in Russian literature of the 18th - 19th centuries to characterize negative characters.

We have identified another typological series of characters in Russian literature, to which the image of the grandmother is close. This series is represented by the images of the landowner Prostakova and the merchant Kabanova, female heroines, sovereign mistresses in their homes, who, while outwardly leading a decent lifestyle, tyrannize their loved ones.

Despite the author’s desire to “justify the grandmother,” the desired outcome was not fully realized. We came to the conclusion that the image of the grandmother in P. Sanaev’s story is complex and dual. This duality is ensured by the combination of light and dark elements in the composition of the work and in the appearance of the grandmother herself.

So, the portrait of grandmother Nina Antonovna is given very sparingly in the story. All that is known about Sasha’s grandmother is that she has a menacing, loud, commanding voice: “... she screamed like a siren, raising her voice on every vowel,” sick, rotten teeth: “... Grandmother showed grandfather her teeth, sticking out in different directions like sparse, half-rotten stumps ”, that her rare caresses disgust Sasha: “... it was even more unpleasant when my grandmother, expressing her love, turned me around with her back and put her cold, wet lips with tickling hairs on my neck. From my grandmother’s kisses everything inside me shuddered, and, barely restraining myself from breaking out, I waited with all my might for the wet cold to stop creeping up my neck.”

The grandmother is presented in the story as a two-faced, insincere person. At the same time, the grandmother is well aware of duplicity, she understands it as the only possible norm of life, turns it into a kind of philosophy, and even tries to teach Sasha this behavior: “My grandmother often explained to me what and when to say. She taught that the word is silver, and silence is gold, that there is a holy lie and sometimes it is better to lie, that you must always be kind, even if you don’t want to...”

Grandmother always tries to maintain a kind tone and politeness in public, in front of strangers. Therefore, she speaks politely to the doctor Galina Sergeevna, to the nurse Tonya, to her friend Vera Petrovna. But behind closed doors and with the telephone on the receiver, the grandmother does not hesitate in her expressions addressed to all her acquaintances. She also communicates with relatives. She constantly scolds her daughter, “You’re not even a whore, you’re not a woman at all. Let your organs be thrown away to dogs because you dared to give birth to a child”; with her husband, “Damn Gizel, hated Tatar!<…>Damn you by the sky, God, earth, birds, fish, people, seas, air! with grandson, "<…>Stinking, stinking, damning, hateful bastard!<…>May you rot alive in the hospital! May your liver, brain, and heart dry up! That you were eaten by Staphylococcus aureus"; with her husband’s friend, Lesha: “... Now I’ll send this Lesha so hard that he’ll forget the way...”, and often without any address: “... a short “pity-pizdyts”, used as a response to any request that should have been refused”; “... They set a threshold, bastards, so that they could stumble all their lives!..”

Grandmother Nina Antonovna is closely connected with everyday life, surrounded by a huge number of things that are grouped into three large semantic nests: food, material values (things) and money. Thus, the grandmother takes the cooking process seriously, feeds Sasha, takes care of the housework, and becomes terribly worried about money: “All the money that grandfather brought, grandmother stuffed into one secret hiding place she knew and often later forgot how much and where she put it.<…>. Sometimes caches disappeared. Then the grandmother said that there were thieves in the house. Besides her mother, she suspected all the doctors of theft, including Galina Sergeevna, all her occasional acquaintances, and most of all, the mechanic from the boiler room, Rudik...”

The grandmother's world is full of things, objects. The kitchen in her apartment resembles a room in the house of Gogol's hero Plyushkin. It is noteworthy that in the grandmother’s apartment there are many books, but practically no one reads them, they only hide money in them: “There were some objects piled up everywhere, the purpose of which no one knew, boxes that no one knew who had brought, and packages in which it was unknown what was lying. The kitchen table was completely covered with medicines and some jars<…>On the cabinets there were apples, bananas or persimmons laid out in a row to ripen, depending on the season.” And further: “There were some bonds in the books, so my grandmother forbade me to touch them, and if I asked to read, she first shook the book, checking to see if there was anything lying around.”

Many scenes in which the grandmother participates are complemented by very expressive facial expressions, gestures, intonations, and poses. Sasha's grandmother very rarely speaks quietly and calmly, moves slowly and smoothly, most often her movements are sharp and impetuous, the phrases she utters are rude and insulting. Yes and no, the grandmother says, but mostly screams. Let's give a few examples: “Mom opened the door and rushed down the stairs with a loud cry. The grandmother opened the balcony, grabbed the pan standing under the table and shouted: “Here, Olenka, you asked for food!” poured its contents down"; “- I’ll scrub you out now! - Grandma shouted and waved the razor under my nose<…>- A-ah! - the grandmother suddenly sobbed and, dropping the scissors, grabbed her face with her hands<…>and, continuing to scream, began to scratch her face with her hands...”; “...grandmother, shaking the heavy wooden fox terrier from grandfather’s sideboard, runs after mother around the table and screams...” and so on.

The grandmother has a strange influence on her loved ones - on her husband: “I don’t have the strength to lay hands on myself, so I started smoking again<…>I can’t take it anymore, I’m suffocating! I’m holding out this life like I’m waiting out the rain. I can not! Don't want!.."; to her daughter: “And I’m afraid of her! I only now realized how afraid I am!”

The influence on the grandson is the strongest. She plays on his feelings, turns him against his mother, blackmails him: “You don’t want us to fight again? If she starts lying again, that I’m not giving you up, that I took you away, stand up and say firmly: “This is not true!” Be a man, don't be a weak-willed rag. Say: “I myself want to live with a woman, I’m better off with her than with you!” Don't you dare betray me! Don't you dare anger God! If you say it right, you won’t be a traitor?..”

Grandma’s very special attitude towards love. On the one hand, grandmother constantly talks about love and talks about it in a meaning familiar to everyone. For example, she burst into tears with emotion when Sasha managed to express the meaning of an adult film in a short phrase. One day she will talk about her love for her grandfather, and her grandmother speaks a lot and often about her love for her grandson.

However, at times the mention of love is accompanied by a comment that is rude, overly physiological, sometimes even paradoxical in relation to the very concept of “love”: “I would rather eat the earth itself than give you something stale”; "I him<…>I buy it, then I don’t have the strength to change the water, I wash myself in the same water. The water is dirty, he can’t be bathed more than once every two weeks, but I don’t disdain. I know that after it there is water, so it’s like a stream for my soul. I wish I could drink this water!” Speaking about love, the grandmother herself compares this feeling with some kind of painful state, literally borderline between life and death: “... it would be better for me to die as a child than to live my whole life without love. All my life I gave myself to others, hoping to deserve it! She loved like crazy..."; “I love him to the point of fainting! He’ll say “baby”, and something inside me will break into a hot, joyful tear”; “He is my last love, I am suffocating without him. I’m ugly in this love...”; “This kind of love of punishment is worse, there is only pain from it, but what to do if it is like that! I would howl from this love, but without it why should I live..."

But more often than not, her actions contradict what she says. So, she ate ice cream in front of the child, threw her mother’s gift - a funny game “Fleas” - into the garbage chute, and greatly frightened her grandson with a hysterical act.

Even one of her curses will also be associated with love - with a feeling that should revive and elevate: “So that you get all the love that is in the world, and so that you lose it, as they took it away from me!”

We have the right to ask ourselves: is there anything bright about grandma? Let us turn to the episode of the grandmother’s memoirs about her youth, where she talks about her son Alyoshenka, who died during the war, about her “imprisonment” in a psychiatric clinic, about the difficult, half-starved childhood of her daughter Olya. At this moment, it’s as if the door of grandmother’s soul opens slightly, and for a moment we see the tragedy of a person who lived a difficult, at times terrible life. But this life of a person broke, disfigured. Nina Antonovna could not keep the person inside herself. And she takes revenge on those who share this life with her, takes out her pain and resentment not on her loved ones.

P. Sanaev himself once (in an interview with the hosts of the “School of Scandal”) said that with his work he wanted to rehabilitate his grandmother, find and approve her bright sides, and that, in his opinion, he succeeded. In our opinion, the writer is somewhat disingenuous. Perhaps he really had such a plan, but it could not be realized. After all, as soon as the author depicts any bright scene from the life of the grandmother, another one immediately follows - even darker and more painful. The apogee of this method of contrast is the final grandmother’s monologue in front of a closed door: the grandmother instantly moves from pleas to curses, from words of forgiveness to threats and abuse: “-... Open the door, you bastard, or I will curse you with a terrible curse. You’ll gnaw your elbows to the bone later for your stubbornness.<…>Open up, Olya,<…>I won’t hold a grudge against you, I’ll take back all my words, let him live with you.<…>Let's be nice. If you are a man, I will help you as long as your legs can walk. If you're a whore, you'll flounder with him yourself. And so that you choke, since you are such a bastard!..<…>Well forgive me.<…>Forgive me, I’ll know that I’m not worthy of raising my voice at you. I will kiss your feet for such forgiveness! What a dirty door you have... I will wash it with my tears. I will wipe the entire threshold with my lips if I know that a daughter lives here, who has forgiven her mother’s sins.<…>Open up, bastard, don't kill! Damn you!.. "

So, artistic truth turned out to be stronger than simple human desire. Grandmother Nina Antonovna is truly a complex and contradictory image.

BIBLIOGRAPHY

sanaev grandmother story image

1. Lebedeva O. B. Russian high comedy of the 18th century: Genesis and poetics of the genre. Tomsk, 1996.

2. Gaidukova E. B. Questions of structural, typological and motive analysis: Educational and methodological manual. Krasnoyarsk, 2008.

4. Tolstaya T., Smirnova A. “School of slander.” Conversation with Pavel Sanaev on May 9, 2008. (issue 140): [Electronic resource] - access mode: http:// www/lovi/tv/video/play.php?Code=fnnzkhrxbu

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