Thick blank sheet of summary. The dream of the soul in Tatyana Tolstaya's story "Clean Slate

Key words: explanation, author, motif, parody, reception, post-modern discourse. In particular, it can be associated with the well-known Latin expression tabula rasa, both in its direct meaning - a blank board where you can write anything you want, and figuratively - a space, emptiness. Indeed, at the end of the story, the hero, who voluntarily changed his inner essence, asks for a “blank slate” in order to “provide a boarding school” for his own son, whom he calls a “non-bearer”. The reader understands that the “blank slate” in the context of the final episode is an important detail, a symbol of the beginning of a new life for the hero, whose soul has disappeared, and a void has formed in its place. On the other hand, the popular expression tabula rasa is associated with the works of famous philosophers. So, Locke believed that only practice forms a person, and his mind at birth is tabula rasa. I. Kant and the American transcendentalists who were guided by him rejected this thesis of Locke. From the point of view of R. Emerson and other transcendentalists, a person is born with an understanding of truth and error, good and evil, and these ideas are transcendental, given to a person a priori, come to him apart from experience. Tatyana Tolstaya does not make direct allusions to these philosophical disputes, but in her work the motif of the soul plays an important role, which in the subtext of the story is perceived in the traditions of classical literature - as a battlefield between good and evil, between God and the devil. The story "Clean Slate" is divided into seven small fragments that are closely related. Each fragment is based on episodes of the hero's inner and outer life. However, structurally, two parts can be distinguished in the text of the work - before the hero's meeting with the mysterious doctor, who "had no eyes", and after the meeting with him. This division is based on the opposition "living" - "dead". In the first part of the story, the idea is accentuated that the "Living" tormented the hero: "And the Alive wept subtly in his chest until the morning." "Alive" in the context of the work is a symbol of the soul. The word "soul" is never mentioned in the story, however, the leitmotif of its first part is the motive of longing, and longing, as V.I. hero, longing pursues him everywhere. It can even be said that the author creates a personified image of longing that “came” to the hero constantly, with which he was “amazed”: “Ignatiev was silent in his hand with anguish”, “Tosca moved closer to him, waved a ghostly sleeve. ..”, “Tosca waited, lay in a wide bed, moved closer, gave Ignatiev a place, hugged her, laid her head on her chest ...”, etc. .Tosca waves her sleeve like a woman, and these mysterious “swings” contribute to the appearance of strange visions in the mind of the hero. The author of the story gives a collage consisting of the thoughts and visions of the hero: "... locked in his chest, gardens, seas, cities tossed and turned, their owner was Ignatiev, they were born with him, with him they were doomed to dissolve into oblivion" . The phrase “with him they were born” that we underlined reminds us of the assertion of Kant and other philosophers that a person from birth is not a tabula rasa. The author “includes” the reader in the hero’s stream of consciousness, which makes it possible to significantly expand the context of the work. It is noteworthy that almost all the pictures that are drawn in the mind of a strange hero are of an apocalyptic nature. "Inhabitants, color the sky in twilight color, sit on the stone thresholds of abandoned houses, drop your hands, lower your heads ...". The mention of lepers, deserted lanes, abandoned hearths, cooled ashes, grassy marketplaces, gloomy landscapes - all this enhances the state of anxiety and longing in which the hero is. As if playing with the reader, the author draws a low red moon in the inky sky, and against this background - a howling wolf... the hero of the story. The longing of the hero is motivated in the story by life circumstances - the illness of the child, for whose sake the wife quit her job, as well as the internal split associated with the fact that, in addition to his wife, he also has Anastasia. Ignatiev pities the sick Valerik, pities his wife, himself and Anastasia. Thus, the motive of longing is closely connected at the beginning of the story with the motive of pity, which intensifies in the further narration, in particular, in the first part, and disappears in the second part, because the hero’s soul disappears, and with it the longing. A feature of the chronotope of the story is the connection of different time layers - the past and the present. In the present, Ignatiev has “a little white Valerik - a frail, sickly sprout, miserable to a spasm - a rash, glands, dark circles under the eyes”, in the present and a faithful wife, and next to her in his soul is “unsteady, evasive Anastasia”. The author immerses the reader into the inner world of the hero, which strikes with its gloominess. His "visions" follow each other like frames of a chronicle. They are united by common moods, fragmented and appear in the hero's mind in the same way as miracles appear in fairy tales - by magic. However, in Tolstoy's story, there are other “swings” - not of a good sorceress, but of longing. In the second “vision” - a string of ships, old sailboats that “leave the harbor no one knows where”, because the ropes have become untied. Human life is often compared in literature to a ship setting sail. This "vision" does not accidentally arise in the mind of the hero, it is not by chance that he sees sick children sleeping in the cabins. In the stream of his thoughts, Ignatiev's anxiety for his small, sick son was reflected. The third picture is saturated with oriental and at the same time mystical motives. A rocky desert, a camel stepping at a measured pace... There is a lot of mystery here. For example, why does frost glisten on a cold rocky plain? Who is he, the mysterious horseman, whose mouth “gaps with a bottomless gap”, “and deep mournful furrows have been drawn on the cheeks for thousands of years by pouring tears”? The motives of the apocalypse are felt in this fragment, and the mysterious horseman is perceived as a symbol of death. As the author of a work created in the style of postmodernism, Tatyana Tolstaya does not strive to create clear, definite pictures, images. Her descriptions are impressionistic, aimed at creating a certain impression. In the last, fourth "vision" that appeared in the mind of the hero, there are reminiscences and allusions from Gogol's story "Evening on the Eve of Ivan Kupala". Here is the same fragmentation of perception as in previous episodes. Anastasia, as a symbol of the devilish temptation, and "wandering lights over the marsh bog" stand side by side, are mentioned in one sentence. "Hot flower", "red flower", which "floats", "blinks", "flashes", is associated with the fern flower in Gogol's story, which promises the hero the fulfillment of his desires. The intertextual connections between the fragment under consideration and Gogol's work are obvious; they are emphasized by the author with the help of distinct reminiscences and allusions. Gogol - "swampy swamps"; T. Tolstoy - "marsh bog", "springy brown bumps", fog ("white clubs"), moss. In Gogol, "hundreds of hairy hands reach for a flower", "ugly monsters" are mentioned. T. Tolstoy has "hairy heads in the moss". The fragment under consideration combines with Gogol's text the motive of selling one's soul (in Gogol - to the line, in T. Tolstoy - to Satan). On the whole, the “vision” or dream of Ignatiev performs the function of artistic anticipation in the text of the story. After all, the hero of Gogol's story, Petrus Bezrodny, must sacrifice the blood of an infant - innocent Ivas. This is the requirement of evil spirits. Ignatiev in Tolstoy's story "A Clean Sheet" will also make a sacrifice - he will give up the most precious thing he had, including his own son. So, in the first part of the story, his exposition is given. The leading motive of this part is the motive of longing that haunts Ignatiev, who is, in fact, a marginal hero. He is lonely, tired of life. His material problems are not emphasized in the story. However, some details eloquently indicate that they were, for example, the mention that “the wife sleeps under a torn blanket”, that the hero walks in a “tea-colored” shirt, which his dad also wore, “he married in it, and met Valerik from the hospital ", went on dates to Anastasia ... The motives declared at the beginning of the work are developed in the further narrative. Ignatiev continues to be haunted by melancholy (“her flat, blunt head popped up here and there”), he still pities his wife, telling a friend that “she is a saint”, and still thinks about Anastasia. The mention of the well-known fairy tale "Turnip" is not accidental in the story, and it is not accidental that in the hero's monologue it coexists with the name of his mistress: "And all lies, if the turnip is already planted, you won't pull it out. I know. Anastasia ... You call, you call - she is not at home. ” The situation in which Ignatiev finds himself is outlined clearly and definitely. He faces a dilemma: either a faithful but tormented wife, or a beautiful but evasive Anastasia. It is difficult for the hero to make a choice, he does not want and, obviously, cannot refuse either his wife or his mistress. The reader can only guess that he is weak, that he has a service, but no interest in it, no favorite thing, because it is not mentioned. And so his longing is not accidental. Ignatiev realizes that he is a loser. One can reproach the author for the fact that the character of the protagonist is not clearly outlined. However, it seems that T. Tolstaya did not strive for such clarity. She creates a conditional text, draws a conditional world in which everything obeys the laws of the aesthetic game. The hero of the story plays with life. He makes plans, mentally works out possible options for a future happy life: “I will forget Anastasia, I will earn a lot of money, I will take Valery to the south ... I will repair the apartment ...”. However, he understands that when all this is achieved, the longing will not leave him, that the “living” will continue to torment him. In the image of Ignatiev, T. Tolstaya creates a parody of a romantic hero - lonely, suffering, misunderstood, focused on his inner worldview. However, the hero of the story lives in a different era than the heroes of romantic works. It was Lermontov’s Pechorin who could come to the sad conclusion that his “soul was corrupted by the light,” which, apparently, had a high destiny for him, but he did not guess this destiny. In the context of the romantic era, such a hero was perceived as a tragic person. Unlike the romantic sufferers, the characters in T. Tolstoy's story, in particular, Ignatiev and his friend, do not mention the soul. This word is not in their vocabulary. The motive of suffering is given in a reduced, parodic way. The hero does not even think about a high destiny. Thinking about his character, one involuntarily recalls the question of Pushkin's Tatiana: "Isn't he a parody?" The reader understands that Ignatiev's anguish and suffering are due to the fact that he does not see a way out of the situation that he himself created. From the point of view of a friend Ignatiev, he is just a "woman": "Just think, the world's sufferer!"; "You revel in your imagined torments". It is noteworthy that the phrase "world sufferer" sounds in an ironic context. And although the nameless friend of the hero is the bearer of an ordinary average consciousness, his statements confirm the assumption that the image of Ignatiev is a parody of a romantic hero. He cannot change the current situation (neither the will nor the determination is enough for this), and therefore it turns out to be easier for him to change himself. But Ignatiev does not choose the path of moral self-improvement, which was close, for example, to many of Tolstoy's heroes. No, it is easier for him to get rid of the "living", that is, the soul. “Here I’ll be operated on ... I’ll buy a car ...” The author makes it possible to understand that material goods will not save a person from suffering. whose name was Raisa, as he promised her a heavenly, from his point of view, life. “You will live like cheese in butter”, “Yes, I have all the living space in carpets !!!” - he said, and then left the telephone booth with tear-stained eyes and an angry face. But this case did not stop the hero. He made a decision, although not right away. solutions. The hero was not alarmed by the fact that “a tearful woman came out of N.’s office”, because his attention and the attention of a friend were riveted to something else - to golden pens and expensive cognac, to the luxury that they saw there. The motif of wealth is enhanced in this part of the work. The author makes it clear that this motive in the mind of an ordinary, average person is closely connected with the image of a successful man. In a distorted world, heroes like N are associated with real men. T. Tolstaya in this case is another example of a parodic worldview. But the ideal of a real man, familiar to Ignatiev, is instilled in him by both his friend and Anastasia, who drinks “red wine” with others and on whom the “red dress” burns with a “love flower”. The symbolism of color and the mention of the "love flower" are not accidental here. All these details resonate with the motives of temptation, with the above-mentioned episode from Gogol's story "The Evening on the Eve of Ivan Kupala". "Love flower" is associated with "love potion", which is a symbol of the magical influence on the feelings and actions of a person. The "love flower" for Ignatiev was Anastasia, who speaks "demonic words" and smiles with a "demonic smile." She tempts like a demon. The ideals of the crowd become ideals for Ignatiev. And in order to fulfill his dream - to get rid of contradictions, "tame the elusive Anastasia", save Valerik, Ignatiev needs to "become rich, with fountain pens." In this clarification - "with fountain pens" - the author's irony comes through. Ignatiev’s internal monologue also evokes an ironic smile: “Who is this coming, slender as a cedar, strong as steel, with springy steps that know no shameful doubts? This is Ignatiev. His path is straight, his earnings are high, his eyes are sure, women look after him. ”In the hero’s thoughts, the wife is constantly associated with something dead. So, Ignatiev wanted to "caress the parchment locks of his hair, but his hand met only the cold of the sarcophagus." As a symbol of cold and death, the story mentions several times “rocky hoarfrost, the jingling of a harness of a lone camel, a lake frozen to the bottom”, “a frozen horseman”. The same function is performed by the mention that "Osiris is silent." Note that in Egyptian mythology, Osiris, the god of the productive forces of nature, dies every year and is reborn to a new life. Oriental motifs are also present in the hero's dreams of how he - "wise, whole, perfect - will ride on a white parade elephant, in a carpet arbor with flower fans". Yes, depicting the inner world of the hero, the author spares no irony. After all, he wants a miracle, an instant transformation that would bring him recognition, fame, wealth without any effort. A "miracle" happens, the hero changes, but only becomes not the same as he imagined himself in his dreams. However, he no longer notices and does not understand. The instantaneous removal of the "Alive" - ​​his soul - made him what he should have become, given his desires and thoughts. The author of the story freely plays with images of world culture, inviting the reader to unravel them. The work is based on the motif of selling the soul to the Devil, Satan, Antichrist, evil spirits, common in world literature, as well as the motif of metamorphosis associated with it. It is known that like Christ performing a miracle, the Antichrist imitates the miracles of Christ. So, Satan, under the guise of an Assyrian, "Physician of Doctors", imitates the actions of a doctor. After all, a real doctor heals both the body and the soul. The Assyrian "extracts", that is, removes the soul. Ignatieff is struck by the fact that “he didn’t have eyes, but he had a look”, “the abyss looked out of the eye sockets”, and since there were no eyes - “the mirror of the soul”, then there was no soul. The hero is struck by the Assyrian's blue beard and his cap in the form of a ziggurat. “What kind of Ivanov is he ...” - Ignatiev was horrified. But it was already too late. His "belated doubts" disappeared, and with them - and "his devoted girlfriend - longing." The hero enters the realm of the Antichrist - the realm of moral evil. Here “people will be selfish, greedy, proud, arrogant, blaspheming, disobedient to their parents, ungrateful, impious, unmerciful, unfaithful to the word ..., impudent, pompous, loving pleasure more than God.” According to a medieval expression, the Antichrist is the ape of Christ, his false double. The doctor in Tolstoy's story "A Clean Slate" is a fake double of the doctor. He puts on gloves not for the sake of sterility, but "so as not to get his hands dirty." He is rude to his patient when he sarcastically remarks about his soul: “Do you think your soul is big?” The author of the story uses a well-known mythological plot, significantly modernizing it. T. Tolstoy's story "A Blank Sheet" is a vivid example of postmodern discourse with many of its inherent features. Indeed, in the inner world of the hero there is something terrible and unusual, the hero feels inner disharmony. T. Tolstaya emphasizes the conventionality of the depicted world, playing with the reader. The motives of the aesthetic game play a structure-forming role in its story. The game with the reader has different forms of manifestation in the work, which affects the depiction of events on the verge of the real and the unreal. The author "plays" with spatial and temporal images, making it possible to freely move from one time to another, update information of various kinds, which opens up wide scope for the reader's imagination. The game is reflected in the use of intertext, mythologems, irony, in the combination of different styles. So, the colloquial, reduced, vulgar vocabulary of the hero degraded at the end of the work is a complete contrast in comparison with the vocabulary that is found in his stream of consciousness at the beginning of the story. The hero plays life, and the author’s aesthetic game with the reader allows not only to recreate the well-known plot motifs and images, but also turns the hero’s tragedy into a farce. birth: tabula rasa or not tabula rasa? Yes, a lot is inherent in a person from birth, but his soul continues to be a battlefield of God and the Devil, Christ and Antichrist. In the case of Ignatiev in the story, T. Tolstoy defeated the Antichrist. - Evenings on a farm near Dikanka / comment. A. Chicherina, N. Stepanova. - M.: Artist. lit., 1984. - V. 1. - 319 p. Dal V. I. Explanatory dictionary of the Russian language. Modern version. / V. I. Dal. - M.: EKSMO-Press, 2000. - 736 p. Myths of the peoples of the world: encyclopedia: in 2 volumes - M.: Sov. encyclopedia, 1991. - V. 1. - 671 p. - M.: Onyx: OLMA-PRESS, 1997. - P. 154 -175. VALENTINA MATSAPURA FEATURES OF THE POETICS OF TATYANA TOLSTOY'S STORY "CLEAN SHEET" The article analyzes the features of the poetics of T. Tolstoy's story "Clean Sheet". In particular, the author focuses on the poetics of the title of the work, the features of its artistic structure, the role of symbolism, intertextual motives, and the principles of aesthetic play. The story is considered as an example of postmodern discourse. Key words: story, author, motif, parody, game technique, postmodern discourse. » are under consideration in the article. In particular, the author focuses her attention on the poetics of the story"s title, peculiarities of its artistic structure, the role of the symbolic and intertextual motives, the principles of aesthetic game. The story "Blank Paper" is viewed as a sample of postmodern discourse. Key words: narrative, author, motive, caricature, game technique, postmodern discourse.

Grade: 11

Subject: “What does it profit a man if he gains the whole world and loses his soul?” (Gospel of Matthew ch.16) (according to T. Tolstoy's story "Clean Slate")

Target:

• get acquainted with the work of T. Tolstoy;
• by linguo-poetic analysis of the text to reveal its ideological orientation.

During the classes

I. Orgmoment

II. teacher's word

T. Tolstaya is a striking phenomenon in postmodern literature. Her collections "Day", "Night", "Raisins" enjoy the attention of readers of all ages. Why is her prose so attractive? First of all, the complexity and beauty of poetics. It is important not only what Tolstaya talks about, but also how she does it.

Tolstoy's style is hard, stingy. In her speech there are no words empty, optional, not filled with essence. Every detail is precise and expressive. Tolstoy's heroes are cute, sometimes naive, to the point of regret, eccentrics whom she loves, even if she loves them, there seems to be no reason for them. The main thing that the author conveys to readers is the preciousness and joy of existence, the happiness of human life as such. This idea is the main one in the stories of Tatyana Tolstaya.

The story "Clean Slate" is distinguished by some far-fetched plot. There is a kind of fusion of reality and fantasy in it. According to A. Genis, "Tolstaya is by no means a kind wizard, and her fairy tales have a bad ending." But here, too, Tolstaya remains true to her writing credo: stand next to her characters, look around with their own eyes, get over their pain, feel their misfortune and share it with them.

III. Work on the content of the story "Clean Slate".

While working on the content of the story, you were looking for key words that help to understand its essence, the main idea.

How unusual is the story? (realistic reality turns into fantastic)

Why does melancholy come to Ignatiev every night? What is this image? (Tolstoy's metaphor is unusual and unexpected) longing is a sad nurse.

How are the characters in the story portrayed?

• wife - "haggard face", "mummy";
• Ignatiev - “I am completely sick”, “I couldn’t cry and therefore I smoked”, “I was ashamed of low thoughts”, “I bow”, “I tremble”;
• Valerochka, Valerik - "a frail, sickly sprout, miserable to a spasm."

What role does Ignatiev's dream play in the story? (painful delirium, a person cannot free himself from a feeling of hopelessness, despair, hence nightmarish visions: a ship with sick children. A stony desert with a dead horseman, a swamp bog with a red flower).

The color red appears repeatedly in the story: red wine, red flower, red dress , burning with a love flower. What is the significance of this color? (as a signal of danger, as desirable and unattainable, as death itself -"marsh bog with a red flower").

When does the conversation about the Alive come up for the first time? (conversation with a friend in the cellar).

What does a friend of Ignatiev mean by life?

What is it - living? (soul; “the living hurts”, “harmony of the body and ... the brain”; “when it is transplanted to others, they do not survive, they cannot withstand”, “the living king-bell beat and buzzed in his trembling chest”; “as if, anticipating something then, in the chest, it was compressed, then squatted, closing its eyes, covering its head with its hands.

Why does Ignatiev want to delete the living? (to save his son, to become rich, successful, self-confident).

What is the symbolic meaning of the burning of the father's shirt? (this is a "wasted sacrifice." Anastasia does not love him. "He will be strong. He will burn everything that destroys barriers").

In the corridor of the hospital, Ignatiev examines the tablets with "instructive medical stories": "Gleb had a toothache." “And the eye had to be removed”: the author’s phrase follows: (If your eye tempts you, pluck it out) - How do you understand such a “neighborhood”? (This is from the Gospel, about temptation. The text has a different meaning:the soul cannot be torn out like a bad tooth).

What feelings did you experience when reading about supermen, deprived of "alive"? (Regret, anxiety, shock. People who are deprived, in the literal sense, of a soul, are really soulless. These are no longer people, but biological mechanisms: blond, N., doctor).

What is striking in the image of a doctor? (He didn’t have eyes. “From the empty eye sockets, a black hole blew into nowhere ...” The eyes are the mirror of the soul. The doctor has no soul, therefore, there are no eyes. Even worse, that for money this “doctor” is able to kill the soul, which is still worse than physical murder).

What was Ignatiev after the removal of the living? And what did this living thing mean for himself and for his loved ones? (without a soul, and Living is a soul, a person ceases to be a person).

Ignatiev's soul endured pain, suffering, tossed about, not finding peace, but at the same time she felt sorry, loved, took care of his loved ones. The metamorphosis that happened to Ignatiev is terrible and natural. Again I recall his nightmare: "a swamp bog with a red flower." Chasing the longed-for "peace", he lost everything, but did he gain?...

IV. Conclusions.

Today's topic of the lesson is indicated by the gospel line. How do you understand it? What does T. Tolstaya make you think about? Can this story be taken as fiction only? (Student reasoning).

S.A. GIMATDINOVA,
Naberezhnye Chelny

Integrated lesson on the story of T.N. Tolstoy "Clean Slate"

Goals.

1. Acquaintance with the content and analysis of the story.
2. Work on the language of the work.

A miracle is something that is impossible and yet possible.
That which cannot happen and yet does happen.

(Bernard Show. Back to Methuselah)

For a great deed, a great word.
From an excess of feelings, the mouth speaks.

(Proverbs)

Today in the lesson we will get acquainted with the story of the modern writer Tatyana Nikitichna Tolstaya "Clean Sheet", we will try to analyze it and work on the language of the work.

T.N. Tolstaya was born in 1951. Granddaughter of Alexei Nikolaevich Tolstoy, an outstanding writer, author ... (students suggest: "The Adventures of Pinocchio", "Hyperboloid of engineer Garin", "Aelita", "Walking through the torments", "Peter I"). She entered literature in the 1980s and immediately became famous for her stories, which combine the accuracy of drawing with a flight of fancy, psychologism with the grotesque, comprehension of spiritual secrets with sophisticated writing technique. For the novel "Kys" she was awarded the literary "Oscar" - the "Triumph" award for 2001; became the winner of the competition "The Best Editions of the XIV Moscow International Book Fair in the nomination" Prose-2001 "".

"A Clean Slate" is one of the best and most mysterious stories by Tatyana Tolstaya. You have already read this book at home.

- Who is its main character? What can you say about him and his family? (The main character is Ignatiev. He lives with his wife and a sick child.)

How does he treat his wife? (He takes pity on her. “Nothing is more exhausting than a sick child.” Covers her with a blanket when she falls asleep. Notices “haggard face”, offers to bring a pillow. “Earthy, tired, dear wife sleeps under a torn blanket.” This is a key phrase in understanding Ignatiev's relationship with his wife. How much pain, how much compassion for the mother of his sick child!)

- And what is the attitude of Ignatiev to his son Valerik? (Loves him, pities him.)

How can you see that he loves you? ("White Valerik was scattered - a frail, sickly sprout, miserable to a spasm - a rash, glands, dark circles under the eyes.")

– Find words with diminutive suffixes (white, sprout, glands). They talk about reverent paternal love and tenderness for the child.

When the boy groaned in the next room, "Ignatiev jumped at the door with a push, rushed to the barred bed."

I draw students' attention to expressive synonyms: jumped, jumped, - which convey the quickness of the actions of the alarmed father.

Finishing the conversation about Ignatiev-husband, Ignatiev-father, I quote: "... I took pity on her, took pity on the frail, white, sweaty Valerik again, took pity on himself, left, lay down and lay awake, looked at the ceiling."

The main feeling in relation to the family is pity.

- Does Ignatiev feel happy? (No, he doesn’t. Because of this, he doesn’t sleep at night. Gardens grow somewhere, the seas rustle, cities are built - Ignatiev feels like their master, but ... he must take care of his family.)

And yet, in his dreams, he imagines himself to be the "ruler of the world" and the "good king."

- Who is Ignatiev's constant night girlfriend? Who is always by his side? (Longing. She comes to the hero every night.)

Tolstaya uses a metaphorical paraphrase, calling melancholy "a sad nurse for a hopeless patient." (Students find and read the quote: “Every night longing came to Ignatiev. Heavy, vague, with her head bowed, she sat on the edge of the bed, took her by the hand - a sad nurse for a hopeless patient. So they were silent for hours - hand in hand..)

Every night, "hand in hand, Ignatiev was silent with anguish." It even seems to him that "longing is coming to the cities." Here "longing moved closer to him, waved a ghostly sleeve ...".

- What kind of pictures does longing show a suffering person? (Ignatiev represents distant ships, sailors, native women, a captain; an endless stony desert with a “pacing camel” - represents the places where he could be if ...

And more often than others, he sees "the unfaithful, unsteady, evasive Anastasia.")

– “Unfaithful, unsteady, evasive”... Is this a positive or negative characteristic? (Negative, of course.)

Ignatiev understands that she is not worth his love - and yet loves.

Now we are staging a fragment of the story "Ignatiev with a friend in the cellar." (Students read by roles from the words After work, Ignatiev did not immediately go home, but drank beer with a friend in the cellar, ending with a dialogue:
– And what is his name?
– N.)

- What does Ignatiev complain about to a school friend? (To despair, to longing. “I am in despair. I am simply in despair.” Three times he repeats the word yearning.)

- Read what Ignatiev says about his wife. (“The wife is a saint. She quit her job, sits with Valerochka ... She just gives all her best. Everything turned black.”)

- What do these words say? (Ignatiev sympathizes with his wife, understands how difficult it is for her.)

What does he say about his son? (“He is sick, he is sick all the time. His legs don’t walk well. Such a little cinder. He’s a little warm. Doctors, injections, he’s afraid of them. He screams. I can’t hear him cry.”)

Again I pay attention to words with diminutive suffixes; students find: legs, small, little cinder.

– What is little cinder?

A pre-prepared student reads an article from Ozhegov's dictionary:

cinder end. The remains of an unburned candle.

A very expressive word: it seems to the father that the life in his child is a little warm and is about to burn out.

Ignatiev continues to complain about fate.

(Students find and read the passage: “But I, imagine, I suffer. My wife is suffering, Valerochka is suffering, and Anastasia is probably also suffering ... And we all torment each other..)

I draw attention to the syntax: Ignatiev speaks of his suffering in a separate sentence, and the suffering of his wife, son, Anastasia - in another.

Who do you think suffers the most? (He himself, therefore, speaks first of all about his experiences.)

– What do you think? (The wife experiences the most painful suffering. She does not sleep at night. She is forced to leave her job. She stopped taking care of herself: “Ignatiev looked at the regrown black hair - she had not pretended to be a blonde for a long time ...”.)

I explain: Valerik suffers, but less. Small children do not know how to get sick, because, unlike adults, they do not know that a serious illness can end in death. Temporary relief - and the child is again cheerful and cheerful.

- And what can you say about the suffering of Ignatiev? (He suffers the least, does not sit with a sick child, can be distracted at work, in communication with a friend; the only thing he does is read “Turnip” to his son in the evenings.)

A friend ironically calls Ignatiev a "global sufferer", a "woman" who revels in "invented torments."

Ignatiev says about himself: "I'm sick ...".

- Why is he sick? (Ignatiev considers his longing a disease.)

Yes, not only Ignatiev and his friend are sitting in the beer cellar, but also melancholy - it was not without reason that she “hurried” after our hero ... There was no way to get rid of her, the doorman let her into the cellar.

And Ignatiev is tired of regretting, suffering and compassion - pity, compassion, mercy seem to him a disease.

The hero dreams of becoming a different person. What? (“... I’ll cheer up. I’ll forget Anastasia, I’ll earn a lot of money, I’ll take Valery to the south ... I’ll repair the apartment ...”)

- What is the way out friend? (He believes that Ignatiev needs to have an operation. “The diseased organ must be amputated. Like an appendix.”)

– What does the school friend say about the results of the operation? What are the arguments in her favour? ("1. The mental abilities are unusually sharpened. 2. Willpower grows. 3. All idiotic fruitless doubts completely stop. 4. Harmony of the body and ... uh ... brain. Intelligence shines like a searchlight.")

And the last thing that is especially convincing is that there are already operated ones: “... there is one sidekick - I studied with him at the institute. The big man has become.

So, by removing this unnecessary organ, you can even become a “big man”.

- What is this organ? Does a friend call him? (No, he doesn’t. He says: “Dogs don’t have it. They have reflexes. Pavlov’s teaching.”)

Let's remember the pronoun her. Therefore, an organ will be amputated, and this organ will not He (brain) not it (heart) and she .

- How does Ignatiev feel about motorists? (He doesn’t like them. “Someone in the Zhiguli deliberately drove through a puddle, doused Ignatiev with a muddy wave, splashed his trousers. This happened often with Ignatiev.”)

– Why is this happening? (Because of a bad upbringing. The one who travels boasts of his wealth in front of the one who goes, and not just boasts, but also wants to humiliate, offend a person.)

Here the word plays an important role. on purpose. on purpose- means specifically to offend, laugh at a pedestrian. But a puddle can be bypassed. By the way, in Europe they don’t behave like this on the roads. Drivers stop to allow a walking person to cross the street.

- What thoughts come to Ignatiev's head? (“... I’ll buy a car, I’ll douse everyone myself. To avenge the humiliation of the indifferent.”)

As you can see, the rudeness of some breeds anger and rudeness of others - it's like a chain reaction.

- But how can you see that Ignatiev is still not a boor, not an insolent one? (He was "ashamed of low thoughts, shook his head. I am completely ill.")

An important word for understanding the character of the hero - ashamed. Choose a synonym for the word shame. (Students can easily find the closest synonym - conscience.)

Yes, shame is shameful, embarrassing, uncomfortable in front of others.

A dark-skinned man, who taps a coin on the glass of a pay phone, while waiting for his turn, angrily throws at the boy: "You must have a conscience." So the theme of conscience begins to sound in the story.

- Could you get through to Anastasia Ignatiev? (No, he couldn’t. “... long beeps did not find a response, they disappeared in the cold rain, in the cold city, under low cold clouds.”)

Thrice Tolstaya repeats the word cold. Repetition here is a means of expressiveness, emotionality. It is needed in order to show how uncomfortable the hero feels in his hometown - he, a pedestrian, is cold among the passengers. He has a conscience, mercy. "Swarthy short man", coming out of the booth of a pay phone with tears in his eyes, he met with "a sympathetic smile."

Reading by roles of the episode "Ignatiev at the "big man""(from the words "N. received in a week ..." ending with the words "The audience is over").

A tear-stained woman comes out of the big man's office. What does this artistic detail say? (N. is a big boss. He refused the woman some request, so she comes out with tears.)

- Why was Ignatiev's friend nervous when talking with an institute comrade? (N. - “a significant person.” Works in a reputable institution. “A table, a jacket, a golden fountain pen in a pocket” - in a word, a boss.)

That's right, any mere mortal is shy in front of "rulers and judges", especially since they most often, without even understanding the essence of the matter, refuse these mere mortals.

– What did N. say about the operation? (“...Quickly, painlessly, I'm satisfied...pull out, extract.”)

- Do you know what is extract? (The prepared student reads: Extract. Same as extractor.- Ozhegov).

Extracted- it means extracting, pulling out individual components from the whole.

– Why was the conversation with N. so short? (N. is a big boss, a business man. He has no time. Answering a question, he looks at his watch.)

- What clericalisms are found in this short episode? (“I acted like this ...”, “not to advertise”, “time storage”, “audience is over.”)

Cemetery cold emanates from these words. time storage- the author's neologism Tolstoy. For this situation - an extremely expressive word. Chiefs of this rank believe that every minute of their life is precious, unique, and they try to get rid of annoying visitors as soon as possible.

- How can you see that N. is a very wealthy person? (He has a "golden fountain pen", a "massive golden vault", an expensive strap.)

- As we have seen, longing accompanies Ignatiev everywhere as his constant companion. Did she go with Ignatiev to the office of a "significant person"? (No, she didn’t go. She doesn’t belong in a solid institution with many signs and strong doors. Yes, bosses don’t need to know what longing is.)

Longing returns to Ignatiev after the audience. (Students find the quote: “Melancholy was picking up again, evening friend. She looked out from behind the drainpipe, ran across the wet pavement, walked, mingling with the crowd, relentlessly watched, waited for Ignatiev to be left alone..)

- What kind of life does each Ignatiev promise after the operation? (“Healthy, fulfilling life, not chicken digging! Career. Success. Sports. Women. Away with complexes, away with tediousness! Look at yourself: who do you look like? Whiner. Coward! Be a man, Ignatiev! A man! Then you and women will love. And so - who are you? Rag! ")

- The mention of women again makes Ignatiev remember Anastasia. Did she consider Ignatiev a man? (I didn’t think so. “It is doubtful. That you. Ignatiev. Be a man. Because men. They are. Resolute.”)

- What symbolic meaning did his father's "tea-colored silk shirt with short sleeves" have for Ignatiev? (A connection with the past, with the father. First, Ignatiev the father wore it, then Ignatiev the son: “a good thing, without demolition; he married in it and met Valerik from the hospital.”)

- Why did Ignatiev burn this shirt? (Because Anastasia wanted it that way.)

Submitting to her, Ignatiev burned his blood ties with the past (parents) and the present (wife and son).

The shirt should be dear as a memory, but the hero neglected this memory.

- Who took possession of the ashes from the burned shirt? (Melancholy. “Ignatiev burned his father’s tea shirt - its ashes shower the bed at night, melancholy pours handfuls of it, quietly sows through a half-opened fist.”)

- Anastasia considers Ignatiev weak. He agrees to an operation to become strong. Why does he need strength? (“He will lasso... Anastasia. He will raise the sallow, downcast face of his dear, exhausted wife... Smile, too, little Valerik. Your legs will get stronger, and the glands will pass, for papa loves you, pale city potato sprout. Papa will become rich, with fountain pens. He will call expensive doctors in gold glasses ...”)

- Ignatiev believes that he will become a different person - "contradictions will not tear him apart", he will forget "shameful doubts." What comparisons does the writer use when drawing the “new” Ignatiev? (“Slender as cedar, strong as steel.”)

The last comparison is “cold”. Steel is not only hard, but also cold.

– In this part, the theme of conscience continues. Who is she related to? (With Anastasia. She says “shameless words”, she “smiles with a shameless smile.”)

I pay attention to the landscape in the next part. Students read:

A summer morning chirped through the kitchen window. Sprinklers sprinkled with iridescent fans a short cool, in the tangled clubs of trees the living squeaked, jumped. Behind him a half-asleep night shone through the muslin, whispers of melancholy ran, foggy pictures of trouble, the measured splash of waves on a dull deserted shore, low, low clouds.

Pay attention to the word rainbow. Before the operation, Ignatiev has bright dreams of a future rebirth.

Anyone before a surgical intervention is afraid, the look becomes especially intent, as if a person sees everything for the last time.

- What does Ignatiev notice? (“The haggard face of the wife”, he wants to “caress the strands of the expensive mummy’s hair.”)

- Why does Ignatiev compare his wife with a mummy? (She dried up from suffering, sleepless nights, constant anxiety for the life of a child.)

And again - for the umpteenth time! - Ignatiev mentally promises his wife to make Valerik happy. The son will be the ruler of the "earthly cup."

In the queue among the people waiting for the operation, Ignatiev notices a nervous blond.

- How can you see that he, too, is worried and afraid? (He is “pathetic”, “with a shifty look”, bites his nails and bites off the hangnails. “In front of the door to the office he howled softly, felt his pockets, stepped over the threshold. Pitiful, pitiful, insignificant!”)

In order to somehow calm himself, Ignatiev looks at posters with instructive medical stories.

- Why was Ignatiev interested in Gleb's story? (He suffered because of a bad tooth, but the doctor “pulled out the tooth and threw it away” - Gleb felt happy again.)

Ignatiev took this story as another argument in favor of the operation.

Dramatization of the episode "Ignatiev's Conversation with a Nurse"(from the words “The sound of a gurney was heard from behind ...” to the words “The nurse laughed, picked up a dropper, and left”).

- What did Ignatiev learn from the nurse? (What her not only extracted, but also transplanted. But people usually do not survive and die from heart attacks: “They didn’t know that she a piece like that - and suddenly here you are - give them a transplant.")

We see the doctor's office door swinging open. Whom does Ignatiev escort with "enchanted gaze"? (Blond. He came out with a “chased step”, “haughty, going ahead. Superman, dream, ideal, athlete, winner!”.)

One more step - and Ignatiev will also become like that.

- What does our hero pay attention to in Professor Ivanov's office? (“A chair like a dentist, an anesthesia machine with two silver tanks, a pressure gauge. Plastic model cars, porcelain birds.”)

There is nothing alive in this office, only dead things.

Who is the north wind compared to? (With "indifferent executioner".)

Why do you think there is such a comparison? (The doctor acts as the executioner in this office.)

- What amazed Ignatiev when the professor raised his head? (“He didn’t have eyes. From the empty eye sockets, a black gap blew into nowhere, an underground passage, to the outskirts of the dead seas of darkness.”)

Ignatiev voluntarily came to this operation, but he feels uncomfortable among the dead things. The doctor's empty eye sockets portend "dead seas of darkness." It seems to our hero that “a crack has run through his trembling heart,” that “anxiety is breezing through his heart.”

Therefore, he asks a rhetorical question: “Alive, do you exist? ..”. But there is nowhere to retreat.

Reading the "Operation" fragment by roles(from the words “The Assyrian once again let me look ...”, ending with the words “Ringing in the ears, darkness, ringing, non-existence”).

- What did Ignatiev see at the very beginning of anesthesia? ("... how she clung to the window, saying goodbye, sobbing, covering the white light, a friend devoted to them - melancholy.")

It follows from this that Ignatiev said goodbye to longing forever. “And the living gasped,” - he, like melancholy, was also betrayed.

This artistic image alive passes, like melancholy, through the whole story. Having decided on the operation, Ignatiev betrays not only longing, but all living things.

- And what does the “wild, woeful cry of Anastasia” mean? (Let her have a “shameless smile”, “shameless words”, even Anastasia is against this operation.)

- Repeats Ignatiev's word five times it's a pity. Whom does he feel sorry for? (It’s a pity for those who remain. The last person he sees before losing consciousness is his son Valerik. He “raised his pen, something is clamped in his fist, the wind is tearing his hair ...”)

Dramatization of the last fragment "After the operation" (from the words "Ignatiev - Ignatiev?" Until the end of the story).

- Reread the first sentence (“Ignatiev - Ignatiev? - Slowly floated up from the bottom, pushing soft dark rags with his head, - it was a cloth lake.”)

Why is the character's last name repeated twice? (The first time the surname sounds like a statement, the second - like a question. The writer herself is not sure if Ignatiev woke up in an armchair. Maybe completely different?)

- Has Ignatiev changed? (Yes, it has changed a lot.)

What has changed in the first place? (Manners, vocabulary.)

First of all, the lexicon. Mass appeared vulgarisms.(The student explains that these are vulgar, rude, obscene expressions.) Students find them: figs with her, wind(instead of go), no fools, go nuts, peepers(instead of went), e-mine, women, shlendrait(instead of walk), cool, without bullshit, denyuzhki, kobenitsya.

If earlier the hero expressed his thoughts and feelings in the correct, literary language, now mainly in the words of a colloquial style. Students find: by pull, not weak, cheated, I'll shake out the money, boss(instead of doctor), in the trash, let's five, be, now(instead of Now), Nastya, chuckled, little baby, give it to her paw, everything is chore; Well, this is finally the finish line.

Feeling like a significant person, Ignatiev introduces into his speech and office work. Students read: write where it is necessary, signal, provide a boarding school.

The depressing familiarity of the hero is especially horrifying. (The student explains that familiarity, according to Ozhegov, is inappropriate swagger, excessive ease.)

- How does he address Professor Ivanov, who performed the operation at the personal request of Ignatiev himself? (Doc, chief, beard. “Did you sow peepers, boss?”)

This person tries to be original, comes up with, in his opinion, witty jokes. (Students read: "Fool loves red", "Keep your tail with a gun", "Be healthy, don't cough".)

In fact, these are formulaic, banal expressions that have already become firmly established in the spoken language. Word stamps.

We remember what plans for the future Ignatiev made before the operation: to earn a lot of money, to cure Valerik, to give rest to his exhausted wife.

Do his plans change? (Yes, they are changing. He outlines a program of action from three points: 1. “Shcha, quickly to Nastya. Shtob went nuts!” 2. Write a complaint that doctor Ivanov takes bribes - although, as we remember, he gave it himself. 3. To define in a boarding school a “non-bearer” - “unsanitary conditions, you understand.”)

Please note that the new Ignatiev does not even remember his wife - she, “a lake frozen to the bottom”, has no place in Ignatiev’s new life, just as there is no place for a son, a “little cinder”, a “potato sprout”, which suddenly turned into “ little baby”, and it is no longer possible to live with him under the same roof.

- Who did the respectable Ignatiev turn into? (In a boor, insolent, impudent, scoundrel, for whom there is nothing sacred.)

- So what amputated Ignatiev? Why did he become rascal? I asked you to prepare a tablet at home. Write on it what was extracted from our hero. (Students hold up cards.)

We come to a common conclusion: Ignatiev was amputated soul.

Try to prove it with text. (Students read: 1. "In dogs her No. They have reflexes. Pavlov's teaching. 2. "Harmony of the body and, uh, brain".)

Indeed, it is generally believed that having a soul is the prerogative of man, but not animals.

- What should be the word in the phrase "harmony of the body and ..."? (“Harmony of body and soul.”)

A student - an expert in the Russian language reads an extract from the dictionary of phraseological units:

Soul and body - whole, whole being, completely, perfectly, in every respect.

Let's talk about the word now. soul. What does it mean?

Experts answer:

Ozhegov's dictionary:

Soul. public. The inner, psychological world of man, his consciousness.

Dahl dictionary:

Soul. An immortal spiritual being gifted with reason and will. Mental and spiritual qualities of a person, conscience, inner feeling.

Dictionary of synonyms Alexandrova:

Soul- heart, spiritual (or inner) world.

As you can see, Dahl believed that the soul is primarily conscience; Alexandrova - that the soul is the heart.

Thanks to these interpretations, the story becomes clearer.

Ignatiev, who has lost his soul, no longer has a heart or conscience.

I asked the experts to write out the words with the root from the dictionaries -shower- . Let's listen to those of them that positively characterize a person. The expert reads:

soulful(Ozhegov) - full of sincere friendliness.

soulfulness(Alexandrova) - 1. responsiveness; 2. sincerity.

Darling(Ozhegov) - about a pleasant, attractive person.

I explain that the words spirit And soul the same root, although they differ in meaning. alternation x - w .

soulful(Ozhegov) - imbued with a sublime feeling.

Spiritualize(Ozhegov) - inspire, fill with high content, meaning, ennoble internally.

Animate(Ozhegov) - inspire, give spiritual strength.

animate(Ozhegov) - to be inspired, to feel a surge of spiritual strength.

Animation(Ozhegov) - uplifting spirit.

soul-loving(Dal) - philanthropic.

soul-saving(Dal).

Executor(Dal) - the executor of the last will of the deceased.

welcome(A student who worked with an etymological dictionary tells about the history of this word.) Actually the Russian word, goes back to cordial, which is formed with a connecting vowel O by adding glad- And stuffy (compare dialect stuffy- "mentally"), is a derivative with the suffix -n- from soul.

Soul-man(Dal) - Direct and kind.

Spirit(Ozhegov) - consciousness, thinking, mental abilities, that which induces to action, to activity.

The clergy are the servants of the church. The clergy are Orthodox, Catholic, Muslim. The clergy appeals first of all to the human soul.

Confessor(Ozhegov) - a priest who takes confession from someone.

Spiritual(Ozhegov) - related to mental activity, to the field of the spirit. spiritual interests.

Spiritual(Dal) - moral, moral, internal, sincere.

And this is not a complete list of words with a root -shower- .

Now let's hear from another expert. He will read the words with the same root, negatively characterizing a person.

heartlessness(Alexandrova) - heartlessness.

Soulless(Ozhegov) - without a sympathetic, lively attitude towards someone, something; heartless.

Soulless(Dal) - not gifted with a human soul; soulless, dead, dead or killed; acting as if there was no human soul in him, insensitive to the suffering of others, callous, cold, selfish.

I pay attention to this word. Dahl wrote as if about the “new” Ignatiev, as he appeared after the operation.

Indifferent(Ozhegov) - indifferent, indifferent, devoid of interest in something, and also expressing indifference, indifference.

Indifferent(Alexandrova) - insensitive, insensitive, cold, icy, cold.

Murderer(Ozhegov) - murderer, villain.

choke(Ozhegov) - kill by forcefully squeezing the throat.

Strangler(Ozhegov) - the one who suffocates.

insane(Dal).

soul-damaging(Dal).

Dushonka(Dal) - a miserable or low soul.

Having lost his soul, Ignatiev became a soulless man, he lost his conscience, i.e. became immoral. And immoral is shameless. So logically ends in the story the theme of conscience.

- And what is the grammatical category in the Russian language, where in the words-terms there is also a root -shower- ?(The grammatical category of animation is inanimateness. Animated nouns include the names of living beings, inanimate nouns are words denoting objects, not living beings.)

Ignatiev after the operation becomes an inanimate person - he has no soul. Tatyana Tolstaya convincingly shows what can be inanimate people, impudent, boorish, indifferent to someone else's misfortune. But there is animate things. For example, books. Writers died long ago, and their souls, thoughts, feelings reach us like the light of distant stars.

Russian literature has always addressed the soul, because the soul is the main thing, without which there is no person.

A.S. Pushkin:

No, I won't die...
Soul in the cherished lyre
My ashes will survive and decay will flee.

(Monument)

And the poet is right: the soul that expressed itself in wonderful verses continues to live in the memory of descendants.

M.Yu. Lermontov bitterly stated the fact:

The world did not understand my soul.
He doesn't need a soul.

Sergei Yesenin once came to a conclusion that horrified him:

I'm scared - because the soul passes,
Like youth and like love.

(Farewell to Mariengof)

The soul passes... It doesn't even need to be amputated. Over the years, people, unfortunately, become colder and more callous.

Young Vladimir Mayakovsky loved people so much that he wanted to give them his immortal soul:

to you i
I'll take my soul out
I'll crush it so that it's big! -
and bloody ladies, like a banner.

(A cloud in pants)

S.Ya. Marshak said:

Everything that a person touches
Illuminated by his living soul.

(Everything that a person touches...)

ON THE. Zabolotsky called on everyone:

Don't let your soul be lazy!
So as not to crush water in a mortar,
The soul must work
And day and night, and day and night!

(Don't let your soul get lazy...)

All the work of the greatest poet Nikolai Mikhailovich Rubtsov is addressed to the soul - this is the secret of the enduring love for him of many generations of readers.

In the poem "The Soul Keeps", the poet claims that it is "the soul ... that keeps all the beauty of the past."

In another masterpiece, In the Autumn Forest, he asks readers:

Trust me, I'm pure in heart...
And another quote:
And with all my soul, which is not a pity
Drown everything in the mysterious and sweet,
Light sadness takes over
How moonlight takes over the world.

(Night at home)

Sadness takes over the soul. Light sadness. Isn’t that how longing took possession of Ignatiev’s soul - and therefore the hero went for surgery without regret? He immediately got rid of not only longing, but also contradictions, doubts, pity, compassion, and it is precisely these qualities that make a person a Human. Having decided on the operation, he signed his own death warrant, turning into an inanimate person - a living dead man.

- The whole story is about Ignatiev. Why do you think the last part of "After the operation" is the shortest, only one page?

After the students' answers, I summarize: the restless, hesitant, doubting Ignatiev was interesting to Tatyana Tolstaya, as well as to you and me. Having lost his soul of his own free will (and we remember the synonyms - conscience, heart) he ceases to occupy the writer, and she leaves him. And so it is clear that Ignatiev will not accomplish anything significant in life and will go to any goal over the corpses, disregarding anyone, pushing everyone with his elbows.

What do you think is the future fate of the hero? (He will earn a lot of money, buy a car and, driving through puddles, will pour water on passers-by, as they poured water on him. He will divorce his wife, put his son in a boarding school for the disabled and marry Anastasia - now he is as shameless as she is. Although, perhaps, he will no longer be able to make any woman truly happy: after all, Anastasia has already turned into Nastya for Ignatiev. Perhaps she will become an important dignitary, like that “big man” to whom the main character went to ask for advice.)

- Why did N. become the boss after the amputation of the soul? (Yes, because he stopped paying attention to the needs of people, to their suffering, their troubles.)

Our famous TV journalist V.V. Posner once said a wonderful phrase: "For some reason, a person, as soon as he becomes a boss, immediately ceases to be a person."

“Which is easier, gaining a soul or losing it?” (It’s easier to lose. Those operated from the doctor’s office go on their own. And those who have been transplanted with donor souls suffer deeply. They are being transported on gurneys: “...two women in white coats carried a writhing, nameless body, all in dried bloody bandages - and a face , and chest - only the mouth with a black lowing failure ... ".)

Could what happened in the story happen in real life? (No, it's fantasy.)

Therefore, "Clean Slate" is not just a story, but a fantastic story. I draw attention to the epigraph (words by Bernard Shaw). Of course, our medicine has not yet reached such a level as to extract the soul. But how many soulless people, inanimate people, subhumans are nearby - it is their fault that we live so hard and poorly.

– Why did Tolstaya never say anywhere in the story which organ should be amputated? (To make it more interesting to read. The reader must draw his own conclusions.)

This artistic technique is called inconsistency. Reticence is an incomplete statement, hushing up something (in a story.)

It remains to talk about the title of the work.

– How do you understand it? (The operated Ignatiev at the post office asks the girl for a blank sheet.)

What is he going to write? (Complaint. “Signal who is supposed to know that doctor Ivanov is taking bribes.”)

And this is the first thing a person is going to do after becoming a superman...

A blank sheet ... On it you can write "I remember a wonderful moment ..."; you can draw a musical staff, and after some time play the Moonlight Sonata from the sheet; one can deduce the theory of relativity or a system of chemical elements - and one can concoct an evil libel, a complaint, a vile anonymous letter, from which the fragile human heart will tremble and break.

Clean slate... So far clean. But letters, notes, numbers will definitely appear on it. And the main thing is not what is written, but who wrote and how he wrote: either a person with an open soul, or a creature who has already managed to ruin his soul.

And I want to finish the lesson with a wonderful poem by Adeline Adalis:

No, we are not born with a soul:
By life we ​​develop the soul.
This amendment is small
I will destroy the eternal illusion, -
Fear of antiquity and newness -
Fiction about frailty - do not believe:
We are born mortal,
To earn immortality.

Homework . Write out from the phraseological dictionary 15 phraseological units with the word soul(there are about a hundred of them in the dictionary).

Literature

1. Tolstaya Tatiana. Okkervil river. M., 2002.

2. Aleksandrova Z.E. Dictionary of synonyms of the Russian language. M., 1968.

3. Dal V.I. Explanatory dictionary of the Russian language. M., 2002.

4. Ozhegov S.I.. Dictionary of the Russian language. M., 1984.

5. Proverbs of the Russian people. Collection of Vladimir Dahl. In 2 vols. Volume I. M., 1984.

6. Phraseological dictionary of the Russian language, edited by Molotkov. M., 1978.

7. Shansky N.M. Brief etymological dictionary of the Russian language. M., 1971.

"Clean Water" - Search for solutions in the field of providing the population with clean water. Water is dispensed into standard bottles of 5-6 liters. Works in automatic mode. Water purification technology. Service card. Water purification system based on membrane technology. Water is dispensed into standard bottles of 5-19 liters.

"External leaf structure" - Questions for repetition. Leaf venation. Explain the difference between sessile and petiolate leaves. What type of venation is characteristic of dicotyledonous plants? modified leaves. What type of venation is characteristic of monocotyledonous plants? List the main parts of a leaf. In monocot plants, the root system is _______, leaf venation is ___________, ____________.

"Franz Liszt" - Liszt is considered a paramount figure in the history of music. Hungarian pianist and composer (1811–1886) And in 1847 F. Liszt undertook a farewell concert tour. In 1844, Liszt became bandmaster at the ducal court in Weimar. Most of the composer's piano legacy is transcriptions and paraphrases of music by other authors.

"Möbius strip" - Möbius is one of the founders of modern topology. Art and technology. The Möbius strip is a symbol of mathematics, Which serves as the crown of the highest wisdom... An incredible new library project in Astana, Kazakhstan. This sculpture is made up of many cans. Director of the Leipzig Astronomical Observatory, A. Möbius was a versatile scientist.

"Essay on leaves" - My autumn. I. Turgenev. Linden Poplar Rowan Maple Lilac Oak. Leaf movement. What are the colors of the leaves. Clusters of rowan. I. Bunin. Bronze Herbal Brown Light Green Malachite Scarlet. Themes of compositions. What are the leaves whispering about? Which trees have shed their leaves? Autumn sounds. But the pond has already frozen... Red. Yellow Orange Red Green Lemon Orange.

"Lesson of clean water" - Discussion on the topic of the lesson. Leonardo da Vinci. Pure water lesson. Tasks: Sinkwine on the topic "Clean Water". Organizational moment. Discussion of measures to improve the ecological water environment of the region. The result of the lesson: compiling a syncwine. Rain water, spring water Flows, freezes, evaporates Source of life Liquid.

In order to keep up with the accelerating rate of replenishment of information resources and the development of society as a whole, the school gradually increased the period of compulsory education and the number of subjects, and over the years the content of school education has been continuously expanded and replenished. Obviously, the measures taken do not solve the task: the school today has become eleven, twelve, but this process cannot be endless; multi-subject breaks scientific ties, leads to duplication and fragmentation of educational material, does not contribute to students' understanding of a holistic scientific picture of the world; the obvious congestion of curricula, recognized today by both teachers and methodologists, to the detriment of the completeness and depth of its comprehension by schoolchildren.
The general intensification of the learning process has become an objective reality today, therefore it is quite natural that many researchers seek to find a type of training that would guarantee, without increasing the training time, an increase in the quality and addition of the amount of information acquired in the learning process (N.F. Talyzina), achieving the maximum efficiency for the minimum possible study time with the minimum effort of the student and teacher (V.M. Blinov, V.V. Kraevsky).
Researchers (L.Sh. Gegechkori, I.A. Zimnyaya, G.A. Kitaygorodskaya, E.V. Kolchinskaya, B.I. Korotyaev,
O.P. Okolelov, V.A. Pakharukova, A.V. Petrovsky, P.I. Pidkasisty, E.V. Skovin, V.S. ideas of intensive learning, using modern data from many fields of knowledge, primarily psychology, sociolinguistics; appeal to the intellectual and personal reserves of the student, the activation of cognitive processes, the positive impact on the emotional sphere, the optimization of social adaptation processes. At the center of the intensive training system is a person whose intellectual, active, creative, personal potential must be realized to the maximum extent. Therefore, it is quite natural that the concept of "intensification", which has developed in Russian pedagogy, belongs to the number of fundamental concepts of didactics.
Based on the main goal of training - in the shortest possible time to achieve the assimilation of the maximum amount of educational material - the main factors of the intensity of the educational process were identified: the minimum necessary training period to achieve the goal of training with the maximum necessary amount of educational material and its corresponding organization (Yu.K. Babansky) ; maximum use of all reserves of the student's personality, achieved in conditions of special interaction in the study group with the creative influence of the teacher's personality (G.A. Kitaygorodskaya); optimal organization of training (E.V. Kolchinskaya); the intensity of the mental activity of students (T.G. Skibina).
The directions of intensification of the learning process are outlined (L.T.Turbovich): transition to a higher level of initial abstraction; learning effective, regular and optimal ways of thinking; the introduction into practice of teaching devices that make it easier for the teacher to perform important, but the least creative of his functions.
Among the most effective innovative technologies for intensive learning are: the technology of global individualization of learning; technology based on graphical and matrix methods of information compression; technology of active influence on the student's personality (psychotronics, neuroprogramming, meditation); Computer techologies.
The most important target orientations of intensive training:
- reducing the gap between the increase in the volume of educational information and the factor of limited learning time;
- acceleration and intensification of the educational process due to the compression (concentration) of information;
- activation of the cognitive interests of students through a common vision of the future;
- formation of speed of performance of mental actions (general educational skills);
- holistic formation of personality traits necessary for accelerated assimilation of the material (concentration of attention, purposefulness, perseverance, integral artistic feeling);
- formation of schematic, symbolic, symbolic thinking.
The intensification of training involves the improvement of the content, as well as the methods and techniques of training.
One of the techniques of intensive learning is the technique of conceptualization. The concept has long been a subject of reflection in Russian philology. This concept was addressed in their works by S.A. Askoldov (“The Concept and the Word”), D.S. Likhachev (“The Conceptosphere of the Russian Language”), Yu.V. Stepanov (“Constants. Dictionary of Russian Culture”), V. G. Zusman (“The concept in the system of humanitarian knowledge”), A.A. Grigoriev (“The concept and its linguistic and cultural components”), etc.
Concept - semantic concentration; it “expands the meaning, leaving opportunities for co-creation, conjecture, “additional fantasizing” and for the emotional aura of the word” (D.S. Likhachev). Concepts are “some substitutions of meanings hidden in the text “substitutes”, some “potentials” of meanings that facilitate communication and are closely related to a person and his national, cultural, professional, age and other experience.
Working with concepts, conceptualization (singling out the basis, first meaning or principle underlying something) is congenial to the lesson of literature, organic to it, since it involves working with the text of a work of art. A teacher who organizes the work of schoolchildren with concepts in literature lessons must adhere to the following principles:
1) approach the text as a whole, artistically interpreting reality;
2) allow options for interpreting the text based on the ambiguity of the artistic image;
3) enter into dialogic relations with the author of the interpreted text; 4) include the mechanisms of emotional-figurative, logical-conceptual and associative comprehension of the text.
You can demonstrate the use of the conceptualization technique using the example of a literature lesson based on T. Tolstoy's story "Clean Slate" (11th grade). Despite the fact that postmodern literature in the 11th grade program is given in an overview, we chose the story of this author for analysis, since the artistic world of Tatyana Tolstaya is one of the brightest, most original in modern literature, she is called the best in the short story genre. The connection between T. Tolstoy's prose and the Russian classical tradition is obvious, but at the same time, there is also a connection with the modernist tradition of the 1910s-1920s.
To achieve the goal of the lesson - the improvement of the components of general cultural competence, expressed in the development of a culture of reader's perception of a literary text, understanding the author's position, figurative and analytical thinking - it is necessary to solve the following tasks:
educational - to use the content of the material of T. Tolstoy's story to expand the semantic field of the most important for the national culture concepts "pure", "soul";
developing - developing the skills of analyzing a work of a small prose form (development of skills to analyze, compare, compare, highlight the main thing, put forward a hypothesis, select arguments to confirm one's own position, formulate conclusions; development of communication skills and the ability to apply knowledge in a new situation);
educational - the formation of a value attitude to the soul, the inner world of a person as a universal, moral category.

When designing a training session, it is necessary to take into account the following age characteristics
11th graders:
- the central neoplasm of early youth is self-determination, both professional and personal; this is a new internal position, including awareness of oneself as a member of society, acceptance of one's place in it; a graduate builds a life plan, dreams about the future are central to his experiences;
- the main psychological acquisition of early youth is the discovery of one's inner world: high school students form an idea of ​​their own uniqueness, uniqueness, exclusivity of their own "I";
- sufficiently formed abstract thinking;
- internal inconsistency in the development of attention: the amount of attention, concentration, switching speed are at a very high stage of development, at the same time, attention becomes more selective, significantly depending on the direction of their interests.
These features led to the selection of content material necessary to achieve the goal of the training session, as well as the choice of the leading type of activity.
The script for a literature lesson based on the story of T. Tolstoy "Clean Slate" (11th grade)
After a brief note about the author and work with the title of the story (“Clean Slate”), which at the same time is his last phrase, the teacher voices the main problematic question, the answer to which must be given in the lesson: is it possible to start life from scratch?
Before proceeding to the main course of the lesson, it is necessary to update the perception of students. To do this, it is advisable to refer to the semantic analysis of the phrase "blank slate". As a word that carries the main semantic load, students single out the word "pure". By selecting the nouns most often used with this adjective (pure soul, pure water, pure truth, pure conscience, pure look, pure language, etc.), we predict that the story will be about a person who is somehow associated in the mind of the author with the phrase "blank slate". To expand the semantic field of the adjective "pure", students are invited to choose a synonym for each phrase: "pure soul" - "noble", "pure truth" - "honest", "pure conscience" - "fair, moral, virtuous", "pure look" - "open", "clear sound" - "non-false", "pure language" - "normative, cultural".
Having worked with the meaning of the word "pure", we can assume that the main character of the story is a certain character who carries the ideals of purity that are fixed in these adjectives - a kind, honest, fair, open, sincere person. However, students conclude that we cannot correlate the main character Ignatiev with any of these meanings.
At the next stage of the lesson, in order to resolve the identified contradiction, the teacher, demonstrating a blank white sheet of A4 format, asks the students: “Do we know everything about the blank sheet?” - and offers to describe it. Students note that it is white, clean, spotless, regular, rectangular, harmonious, standard, immaculate, perfect.
After fixing on the board a number of adjectives characterizing a blank sheet, the teacher suddenly crushes it with the words: “Is this a blank sheet?” In case of difficulty, students can ask auxiliary questions: “What associations do you have with the characteristics of the character when you look at this crumpled sheet?”, “Why does the hero say: “I have reached the point”?” Based on the text, the students give a brief description of the character: Ignatiev is ill, exhausted by longing. His son is sick - "a frail, sickly sprout." The hero calls him "little cinder", which is "a little warm". The wife is exhausted and exhausted by the illness of her son, for the sake of whom she quit her job (“she is a saint”). And at night the hero yearns for Anastasia and goes into the world of his visions-dreams, no less painful than reality... Tosca accompanies him everywhere, and the Living One hurts excruciatingly somewhere in his chest. That's why he says to his friend, "I've reached the point."
Straightening the crumpled sheet, the teacher asks the question: “What associations with the hero and his thoughts do you have now?” The students answer that the hero wants to break out of this vicious circle: “Every day I give myself a word: tomorrow I will get up a different person, I will cheer up. I’ll forget Anastasia, I’ll earn a lot of money, I’ll take Valery to the south ... I’ll repair the apartment, I’ll run in the mornings ... "
Let's repeat our question: "Is this a clean slate?" Students answer that it has already been used, crumpled. And a clean sheet is smooth, even, unused, pristine. We fix on the board the named values ​​​​of a blank sheet.
In the process of reading, we check ourselves. What did the author mean by calling the hero a blank slate? We must correlate our understanding with the meanings of this expression that have been established in the language. The teacher tears the next sheet in half. The question is repeated: “Is this a blank slate?” And then the teacher asks to voice the associations regarding the hero of the story that arise when perceiving such a sheet. The students say that the hero is really torn between his wife (“she is a saint”) and the “unsteady, evasive” Anastasia. On the one hand, Ignatiev pities his exhausted wife - “a lake frozen to the bottom”, on the other hand, he yearns because Anastasia does not answer his calls and Zhivoe “cries thinly in her chest until the morning.” Even in dreams, the hero seeks to balance both: “He will be strong ... He will tame the evasive, elusive Anastasia. He will lift the earthy, downcast face of his wife. Contradictions will not tear it apart. Clearly, the worthy will be fairly balanced. Here is your place, wife. Own. Here is your place, Anastasia. Kings...” Let's return to the concept of “blank slate”: it must be undamaged, undestroyed; devoid of duality, internally one; whole, whole.
Seeing a sheet with a circle torn out in the center, students recall that at the very beginning of the story, Tolstaya draws a symbolic image of a torn blanket, under which Ignatiev's exhausted wife sleeps. This detail is a symbol of a gap in the relationship of the characters. Let's go back to a clean slate. A clean sheet is a solid, monolithic, solid sheet. A person must be whole in everything - in deeds and deeds. “Wise, whole, perfect” Ignatiev sees himself in his dreams: “The glass ball of despondency will shatter, and a new, shining, brilliant, ringing like a string Ignatiev - wise, whole, perfect - will ride in on a white parade elephant.”
Complicating the task, the teacher shows a blank brown sheet: “But why did we decide that a blank sheet must be white? This is also a blank slate, isn't it?” and then asks to indicate the associations with the text of the story that are being born at this moment. I recall the symbolic image of “a silk tea-colored shirt that his dad still wore”, in this shirt the hero got married without demolition, he took his son from the hospital in it. This thing is a link between three generations. Burning his shirt for the whim of his mistress, Ignatiev cuts himself off from the family.
To enhance the impression, the teacher burns a brown leaf, asking what other way the fire motif in the story is connected with. Students call Ignatiev's beloved Anastasia. Her “red dress burned with a love flower”, in a dream she appears like a red flower, a “hot flower”, which “floats”, “blinks”, “flashes”. Demonstrating a red sheet, the teacher asks: “After all, is this also a blank sheet? Is it possible to call relations with Anastasia clean? Students recall that for Ignatiev, Anastasia became a love flower, she says "shameless words" and smiles with a "demonic smile." Anastasia is a symbol of the devilish temptation. By relations with her, Ignatiev cuts himself off from his family. Let's go back to the concept of "pure". According to one of its meanings, "pure" - free from filth, pleasing to the deity; not sinful.
Looking at the pale pink leaf, the students remember how the hero, who decided to have an operation, says to himself in despair and doubt: “Get out your scalpel, knife, sickle, whatever is customary for you, doctor, do a good deed, cut off the branch, more blooming, but already inevitably dying, and throw it into the cleansing fire ...”, “My poor heart, your apple orchards are still rustling. Also bees, buzzing, dig in pink flowers, weighed down by thick pollen. But it has already thickened in the evening sky, it has already calmed down in the air, a shiny double-edged ax is already sharpening ... "
Deciding on such an operation, Ignatiev cuts himself off from life. But for what? There must be some purpose that justifies this decision? What does Ignatiev dream about? What is it striving for? Asking these questions, the teacher demonstrates the golden leaf. Students recall one of the key episodes of the story - a visit to the "significant person" N. - and find the key words that create his image: a golden fountain pen, a massive golden time storage on an expensive strap ... This is what Ignatiev is going for.
Showing medical certificates, the teacher asks the question: “Are these blank sheets?” The answer is obvious: no, these are completed medical forms with seals. But a paradox! They symbolize that Ignatiev is clean! In the sense of healthy, whole, unharmed, suitable for surgery, because in one of the meanings of "clean" - "fully corresponding to someone, something in its properties."
The image of a doctor from Tolstoy's story can be associated (by its meaning, role in the text) not with traditional white, but rather with black (we show a black sheet). Why? Turning to the text, the students find a portrait of “the doctor of doctors Ivanov”: “A cap was sitting on his head with a compliant cone ... a starched ziggurat ... He had no eyes.” Let's pay attention to the details. Ziggurat - a multi-stage religious building; it was something more than just a temple, being a link between heaven and earth, as well as a place where the god himself supposedly appeared, declaring his will to people through the priests. Associations: "doctor of doctors Ivanov" - priest, satan. And Ignatiev is the one who voluntarily sacrifices himself.
Before the operation, the hero dreams of a miraculous transformation: “With magic scissors, I will cut the enchanted ring and go beyond. The fetters will fall, the dry paper cocoon will burst, and amazed by the novelty of the blue, gold, purest world, the lightest carved butterfly will flutter, preening. Quoting these lines, the teacher rubs a paper “cocoon” filled with confetti in his palms. Gradually, the paper is torn, and the confetti spills out. “Did the miracle of transformation happen?” - such question is asked by the teacher. The answer is obvious. The butterfly is a symbol of the soul, immortality, rebirth and resurrection, the ability to transform, to transform, since this winged celestial creature is born, transforming from a worldly caterpillar. In the case of Ignatiev, the transformation did not happen. Operation was successfully completed. The question “What was Ignatieva removed from?” allows you to go to the artistic technique of default, used by T. Tolstoy. The author never talks about the soul, and only at the end of the lesson do we come to this concept. At this stage of the lesson, “experts” come to the rescue, having previously analyzed the meaning of the word “soul”, based on the explanatory dictionaries of S.I. Ozhegov, V.I. Dal, the dictionary of synonyms by Z.E. Alexandrova. Such work allows us to draw the following conclusion: Ignatiev's soul was removed, which means his inner world, conscience, heart.
And what was the soul of Ignatiev? At the reflective stage of the lesson, the teacher invites students to do creative work - to lay down a portrait of the hero's soul. As a working material, white and colored A4 sheets, whole and torn, paper butterfly, magnets are offered. The work is done collectively on the board, at the end a commentary is given regarding the completed portrait.