What era did Turgenev live in? To expand students' knowledge about the personal and creative biography of the writer

I.S. Turgenev "Fathers and Sons"

1. SYSTEM OF IMAGES

N.P. Kirsanov

Bazarov P.P. Kirsanov

Arkady Kirsanov

Odintsova

Sitnikov and Kukshina

Parents

Bazarov

At the core figurative system novel - antagonism social groups: liberal nobles and raznochintsev-Democrats(materialists)

The image of Bazarov acts as an image of an emerging new force in Russian society.

Evgeny Bazarov:

main character novel, the center of the figurative system

new social type

strong character, natural mind., diligence

the main ideological postulates of Bazarov's nihilism:

The superiority of practice over speculation, experiment over theory;

Rejection of art aesthetic value nature;

The criterion of usefulness of each type of activity;

The reduction of love to a physiological process;

People are biological individuals, the same as the trees in the forest.

Pavel Petrovich Kirsanov - an ideological opponent, main antagonist Bazarov.

narrow position;

weakness of the argument;

the main judgments are the same extreme as the position of Bazarov.

Nikolai Petrovich Kirsanov

desire to understand the younger generation; willingness to compromise

romantic nature

gentleness, kindness.

2. RING COMPOSITION(through it shows the evolution of the hero)

Nikolskoe

Bazarov's parents

Bazarov and Turgenev

“... and if he is called a nihilist, then he must be read as a revolutionary” (I.S. Turgenev)

Subject: I.S. Turgenev: essay on life and work. creative history novel "Fathers and Sons". The era and novel by Turgenev.

Purpose: 1) to acquaint with the biography of the writer, to show his complex contradictory nature, the Russian soul;

2) trace how the era is reflected in the novel;

3) reveal the ideological and artistic originality of the novel, develop skills in working with text

Equipment: portraits of I.S. Turgenev different years

DURING THE CLASSES:

introduction teachers about the life and work of Turgenev.

“I can’t stand the sky, but life, reality, its whims, its accidents, its habits, its fleeting beauty ... I adore all this”

Turgenev expressed all his love for earthly life in his early works: poems, stories, short stories. The language of his works captivates in itself with its sonority and power, the beauty of the word. It is no coincidence that Turgenev is considered a master of Russian prose. His language is pure, beautiful, always fresh and bright. But at the same time, in his works one can feel the sharpness of the author's artistic vigilance, exclusivity. He sees beyond his contemporaries. According to Dobrolyubov, Turgenev quickly guesses "new needs, new ideas introduced into public consciousness, and in his works he certainly draws attention to the issue that is already vaguely beginning to excite society"

Much has been said and written about Turgenev. Read the epigraphs and think: what features of the character and work of the writer do they reflect?

“The main thing in him is his truthfulness” L.N. Tolstoy

“If Pushkin had every reason to say about himself that he aroused “good feelings”, Turgenev could say the same thing about himself with the same justice” M.E. Saltykov-Shchedrin.

“In its current literature, Turgenev has the most talent” N.V. Gogol

Who is Turgenev? What do you know about him? What works of his have you read? What did he write about? What biography facts, personalities struck you?

2) students' reports about the life and work of Turgenev (according to Lebedev's textbook, grade 10 and j-lu "Lvsh" No. 6/98 p. 146 "Bow to your Motherland ..."

Biography of Turgenev

The ideological and aesthetic position of the writer

The special sensitivity of the writer to the new trends of the times

The world of Turgenev's novels

Heroes and heroines of Turgenev

conversation to reinforce

1. What is characteristic of Turgenev's era? How did it affect the writer's work?

2. What is the essence of Turgenev's artistic worldview?

3. What are the socio-political views?

4. What impressions of childhood affected future creativity?

5. What was the reason for T.'s arrest in 1852? What was written in the exile?

6. In what work is the problem raised? extra person»?

7. What works develop the theme tragic love?

8. What is the originality of the work of the last years of the writer's life?

TEACHER'S ADDITIONS

Turgenev was a representative of the liberal nobility, i.e. conservative class in his opinion. He is a supporter of slow political and economic reforms that bring Russia closer to the advanced countries of the West. Democratic sympathies are strong in his liberalism. He admired heroic people, their impulses, but considered them tragically doomed. Until the end of his life, he was unable to take a clear position in the class struggle, but he always remained true to himself.

He spent almost half of his life abroad, so some accused him of lack of patriotism. But T. deeply loved Russia and wrote only about her and for her. In the novel Rudin, he writes: Russia can do without each of us, but none of us can do without it. Woe to the one who thinks this double woe who really does without it"

In the story "Asya" we see endless nostalgia.

The merit of the writer in the creation and development of the Russian realistic novel. he did a lot to develop this genre. In his novels, the sharp clashes of social trends in Russia in the 1960s and 1970s were artistically reflected. This is especially evident in the novel "Fathers and Sons".

Conversation on the impressions of the novel and the teacher's story about the era of the creation of the novel

Dobrolyubov emphasized that the modernity and relevance of T.'s novels are striking. If he has already touched on any problem, then this is a sure sign that it will soon become important for everyone.

Pisarev in the article “Bazarov” noted: “Through the fabric of the story, the author’s personal, deeply felt attitude to the derived phenomena of life shines through. And these phenomena are very close to us, so close that our entire young generation with their aspirations and ideas can recognize themselves in actors novel"

You have listened to the reviews of the novel. What is your first impression of the piece? What problems are relevant now? (attitude to nature, relationship of fathers and children)

What can you learn from the main character? (willpower, self-control, determination, diligence, independence)

What is condemned in the novel? (passion for foreign)

What views of the protagonist did you not accept? (for art, literature)

Relationship of the novel with the era.

The novel was written in 1861. The time of action 1855-1861 is a difficult period for Russia. A shameful defeat in the war with Turkey in 1855, a change of reign, the time of reaction ends, during the reign of Alexander 2 in Russia, the education of various segments of the population flourishes. Raznochintsy are becoming a real social force, while the aristocracy is losing its leading positions. The aristocracy was educated for the sake of education itself, and the raznochintsy studied in order to get a profession, to bring real benefits to society, so a range of specialties was determined. were mostly natural sciences, spiritual world they vehemently denied. this is the basis of Bazarov's theory.

At this time, capitalist relations were actively developing in Russia, and their development was hindered by the serf system. The question of a peasant revolution is brewing. There was a split between Democrats and Liberals over this issue. Turgenev, as a liberal, leaves Sovremennik, which has adopted a revolutionary-democratic orientation. Turgenev is in search of a new hero of the era, he does not find him among the nobility, he finds him in the camp of ideological enemies - raznochintsy - democrats. According to Turgenev, it was more important to "accurately and strongly reproduce the truth, the reality of life is the writer's greatest happiness, even if this truth does not coincide with his own sympathies"

In the image of Bazarov, T. Accurately recreates typical representative new generation. In the article "Bazarov" Pisarev accurately noted that the novel is not an answer, but rather a question for a new generation: who are you? What are you?. The writer persistently seeks to understand this in the work. From this work there are paths to all the novels written about the "new people".

That. the novel was written in the years when the feudal system was collapsing, when society was split into 2 camps: revolutionary-minded democrats and bourgeois liberals. The reform did not satisfy the aspirations of the Democrats.

The novel was begun in 1860 on the Isle of White (France) and completed in Russia in 1862 (zh. Russkiy Vestnik). He immediately caused a lot of controversy, mainly in the image of Bazarov.

Consolidation.

1. How is the novel related to the era?

   What social class does he belong to? new hero era and why?

   What in the image of Bazarov, in your opinion, caused fierce controversy?

Outcome. D / h textbook p.

Find material about Bazarov, the old Kirsanovs and Arkady in chapters 1-6?

What details emphasize the character of the characters?

Does Bazarov's lifestyle differ from other characters and why?

TEST ON THE CREATIVITY OF I.S. TURGENEV

I.S. Turgenev wrote:

1. "Doctor's Notes"

   "Notes on Cuffs"

   "Hunter's Notes"

   "Notes from the House of the Dead"

2. “To accurately and strongly reproduce the truth, the reality of life is the highest happiness for a writer, even if this truth does not coincide with his own sympathies” Who does Turgenev sympathize with:

1. revolutionary democrats.

2. commoners

3. Liberals.

4. Monarchists.

3. Roman is:

1. The genre of the epic, in which the main problem is the problem of personality and which seeks to depict with the greatest completeness all the diverse connections of a person with the reality around him, the entire complexity of the world and man.

2. The genre of the epic, in which, on the basis of allegory and simple life examples explains any complex philosophical, social and ethical problem.

3. Epic genre, based artistic method lies a description of one small completed event and its author's assessment.

4. To whom is the dedication of the novel "Fathers and Sons" addressed:

1. A.I. Herzen.

2. V. G. Belinsky.

3. N.A. Nekrasov.

4. To another person.

5. Epilogue is:

1. A relatively independent part of a work in which an event occurs, one of the units of the artistic division of the text.

2. Additional element compositions, part literary work, separated from the main narrative and following after its completion to provide the reader with additional information.

3. A relatively short text placed by the author before the work and designed to briefly express the main content or ideological meaning the text that follows it.

6. The basis of the conflict of the novel "Fathers and Sons" is:

1. Quarrel between P.P. Kirsanov and E.V. Bazarov.

2. the conflict that arose between Bazarov and P.P. Kirsanov.

3. The struggle of bourgeois-gentry liberalism and revolutionary democrats.

4. The struggle between the liberal monarchists and the people.

I.S. Turgenev. Review of creativity. What was he thinking while living beautiful life and leaving this earth? What he remembered, lying at the window of a villa in Bougival near Paris, looking at barges and boats sailing along the Seine, at green meadows, chestnuts, poplars, ash trees, weeping willows on sparkling clouds? What was he thinking as he left?

The main goals and objectives are to expand students' knowledge about personal and creative biography writer; to acquaint with the history of the creation of the novel "Fathers and Sons"; start collecting material for creating a project by students; make a summary during the lesson on the biography of the writer.

Questions for discussion 1. What is characteristic of the era in which I. S. Turgenev lived? 2. How was the era reflected in the writer's work? 3. What is the essence of the artistic attitude of I. S. Turgenev? 4. What are socio-political writer's point of view? 5. What requirements does I. S. Turgenev impose on his heroes? 6. Who are the "Turgenev girls"? What qualities should they have?

The writer's father I.S. Turgenev was born on October 28, 1818 in Orel. It is difficult to imagine a greater contrast than the general spiritual appearance of Turgenev and the environment from which he directly emerged. His father, Sergei Nikolaevich, a retired cuirassier colonel, was a remarkably handsome man, insignificant in his moral and mental qualities. The son did not like to remember him, and in those rare moments when he spoke to his friends about his father, he characterized him as "a great fisher before the Lord."

Family nest Turgenev's estate Spasskoe-Lutovinovo - native nest great writer. Here he spent his childhood, he came here more than once and lived for a long time in adulthood. In Spassky-Lutovinovo, Turgenev worked on the creation of novels by Rudin, Noble Nest, On the eve, Fathers and Sons, Nov, wrote many stories, novels, poems in prose. Turgenev's guests in Spassky-Lutovinovo were A. A. Fet, M. S. Shchepkin, N. A. Nekrasov. L. N. Tolstoy. M. G. Savina, V. M. Garshin and many other prominent representatives of Russian culture.

Spasskoe-Lutovinovo and its shady linden alleys, its surroundings are reflected on the pages of the Hunter's Notes, novels, stories, short stories by Turgenev, which all over the world glorified the dim, but full of irresistible charm, beauty of the nature of central Russia. manor house

Writer's study House of Turgenev in Spassky with its huge library, study, living room. The Savinskaya room is inextricably linked with the memory of the writer's creative thoughts, his heartfelt conversations and heated debates with friends, with the memory of the harsh Lutovinov antiquity.

Library Since 1850, Spasskoe-Lutovinovo began to belong to I. S. Turgenev. For many years, Ivan Sergeevich did not make radical changes to the arrangement of the house. however, under him, the purpose of the rooms and, accordingly, the furnishings changed to a large extent. The servants' rooms on the mezzanine were emptied, the lady's own office was no more, only the former names remained behind the maid's and the casino, the writer's office was furnished to his liking, the library became one of the main rooms of the house.

The Lutovinov family The Lutovinov family was a mixture of cruelty, greed and voluptuousness (Turgenev portrayed its representatives in Three Portraits and in Odnodvorets Ovsyanikov). Having inherited their cruelty and despotism from the Lutovinovs, Varvara Petrovna was also embittered by her personal fate. Having lost her father early, she suffered both from her mother, depicted as a grandson in the essay "Death" (an old woman), and from a violent, drunken stepfather, who, when she was small, savagely beat and tortured her, and when she grew up, began to pursue vile offers . On foot, half-dressed, she escaped to her uncle, I.I. Lutovinov, who lived in the village of Spassky - the same rapist who is described in Odnodvorets Ovsyanikov.

The writer's mother Almost completely alone, insulted and humiliated, Varvara Petrovna lived up to 30 years in her uncle's house, until his death made her the owner of a magnificent estate and 5,000 souls. All the information that has been preserved about Varvara Petrovna depicts her in the most unattractive way. Through the environment of “beatings and tortures” created by her, Turgenev carried unscathed his soft soul, in which it was the spectacle of the fury of the landowners’ power, long before theoretical influences, that prepared a protest against serfdom. He himself was also subjected to cruel "beatings and tortures", although he was considered the beloved son of his mother.

Childhood Love for Russian literature was secretly inspired in Turgenev by one of the serf valets, depicted by him, in the person of Punin, in the story "Punin and Baburin". Until the age of 9, Turgenev lived in the hereditary Lutovinovsky Spassky (10 versts from Mtsensk, Oryol province).

Youth In 1827, the Turgenevs settled in Moscow to educate their children; they bought a house on Samotek. Turgenev first studied at the boarding house of Weidenhammer; then he was given as a boarder to the director of the Lazarevsky Institute, Krause. In 1833, 15-year-old Turgenev (such an age of students, with the then low requirements, was a common phenomenon) entered the verbal department of Moscow University. A year later, because of the older brother who entered the guards artillery, the family moved to St. Petersburg, and Turgenev then transferred to St. Petersburg University. As a student of the 3rd year, he presented to his court his drama Stenio, written in iambic pentameter, in Turgenev's own words - "a completely absurd work in which, with furious clumsiness, slavish imitation Byron's Manfred". In 1827, the Turgenevs settled in Moscow to educate their children; they bought a house on Samotek. Turgenev studied first at the Weidenhammer boarding house; then he was sent as a boarder to the director of the Lazarev Institute, Krause. In 1833, 15-year-old Turgenev (this age of students, with the then low requirements, was a common phenomenon) entered the verbal department of Moscow University.A year later, because of his older brother who entered the guards artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University As a third-year student, he presented to his court his drama Stenio, written in iambic pentameter, in Turgenev's own words, "a completely absurd work in which, with furious ineptness, a slavish imitation of Byron's Manfred was expressed."

In 1836, Turgenev completed the course with the degree of a real student. Dreaming of scientific activity, he next year again held the final exam, received the degree of candidate, and in 1838 went to Germany. Having settled in Berlin, Turgenev diligently took up his studies. He did not so much have to "improve" as to sit down at the alphabet. Listening to lectures at the university on the history of Roman and Greek literature, he was forced to "cram" the elementary grammar of these languages ​​at home. A strong impression was made on Turgenev and the whole system of Western European life in general. The conviction entered into his soul that only the assimilation of the basic principles of universal culture could lead Russia out of the darkness in which it was immersed. In this sense, he becomes the most convinced "Westernizer". In 1841 Turgenev returned to his homeland. But in Turgenev the fever for professional scholarship had already caught cold; he is more and more attracted to literary activity. In 1843 it starts to print.

Adulthood In 1842, Turgenev, at the request of his mother, entered the office of the Ministry of the Interior. He was a very bad official, and the head of the office, Dal, although he was also a writer, was very pedantic about the service. The matter ended with the fact that after serving for a year and a half, Turgenev, to the considerable chagrin and displeasure of his mother, retired.

In 1847, Turgenev, together with the Viardot family, went abroad, lived in Berlin, Dresden, visited the sick Belinsky in Silesia, with whom he was united by the closest friendship, and then went to France. His affairs were in the most deplorable state; he lived on loans from friends, advances from the editors, and, moreover, on the fact that he reduced his needs to a minimum. Under the pretext of the need for solitude, he spent the winter months all alone in the empty villa of Viardot, then in the abandoned castle of Georges Sand, eating whatever he could.

In 1850, Turgenev returned to Russia, but he never saw his mother, who died the same year. Having shared with his brother a large fortune of his mother, he eased the hardships of the peasants he inherited as much as possible. In 1852, a thunderstorm unexpectedly hit him. After Gogol's death, Turgenev wrote an obituary, which the St. Petersburg censors did not let through, because, as the well-known Musin-Pushkin put it, "it is criminal to speak so enthusiastically about such a writer." Just to show that "cold" St. Petersburg was excited by the great loss, Turgenev sent an article to Moscow, V.P. Botkin, and he published it in Moskovskie Vedomosti.

Between four famous novels Turgenev wrote with his own thoughtful article "Hamlet and Don Quixote" (1860) and three wonderful novels: "Faust" (1856), "Asya" (1858), "First Love" (1860), in which he gave some of the most attractive female images. Princess Zasekina ("First Love") is simply graceful and coquettish, but the heroine of "Faust" and Asya are unusually deep and whole natures. The first was burned from the depth of feeling that suddenly swooped down on her; Asya, like Natalya in "Rudin", fled from her feelings when she saw how the weak-willed person whom she fell in love did not correspond to his strength. - In "Fathers and Sons" Turgenev's work reached its climax.

Creator public opinion With surprising sensitivity, reflecting the moods and trends of the era that were in the air, Turgenev himself, to a certain extent, was the creator of social trends. Turgenev's novels were not only read out: his heroes and heroines were imitated in life. Starting to depict the newly-born "children", Turgenev could not but be aware of his alienation from them. In "On the Eve" he stands on the side of the young heroes of the novel, and directly bows before Elena, who shocked so much with her deviations from the conventional morality of the people of the old generation. He could not feel such sympathy for Bazarov, with his materialistic contempt for art and poetry, with his harshness, so alien to Turgenev's soft nature.

Journal "Russian Messenger" Katkov, who published the novel in his journal, wrote to Turgenev: "You kowtow to the younger generation." But the novel appeared at a very critical moment: the old concept of "harmful" ideas came to life again, a nickname was needed to designate political radicalism. She was found in the word "nihilist", by which Bazarov defines his negative attitude towards everything. Turgenev noticed with horror what use people made of this term, with political views which he had nothing to do with. In literature, the hostile attitude towards the novel was most clearly reflected in the article by the critic of Sovremennik, M.A. Antonovich: "Asmodeus of our time". With Sovremennik, where until 1859 Turgenev was a permanent collaborator, he had previously established cold relations, partly because of Turgenev's personal relationship with Nekrasov, partly because the radicalism of Chernyshevsky and Dobrolyubov was not sympathetic to Turgenev.

The image of a Turgenev girl In his stories of those years, Turgenev captured the image of a Russian woman at the moment of her spiritual awakening, at the time when she began to realize herself as a person: “... what is a Russian woman? What is her fate, her position in the world, in a word, what is her life? Turgenev's heroine is not satisfied with ordinary household chores, she "demands a lot from life, she reads, dreams ... about love ... but this word means a lot to her." She is waiting for a hero who embodies everything for her: “happiness, love, and thought”, a hero who is able to change the course of life, to resist “human vulgarity”. Believing in the hero, Turgenev's heroine "reveres him ... studies, loves." The image of the Turgenev girl was not fixed. From story to story, the typical generalization that this image carried in itself became deeper and more modern, absorbing features that each time illuminate a new side of Russian reality. Turgenev's girls are similar in the main in relation to the ideal of life. These are girls full of rainbow, "winged hopes", discovering for the first time new world vivid feelings and thoughts.

Last years life By the end of his life, Turgenev's fame reached its climax both in Russia, where he again becomes a universal favorite, and in Europe, where criticism, in the person of its most prominent representatives - Taine, Renan, Brandes, etc. - ranked him among the first writers of the century . His visits to Russia in years were true triumphs. All the more painful was the news of the severe turn which, since 1882, had taken on his usual gouty pains. Turgenev died courageously, with full consciousness of the near end, but without any fear of it. His death (in Bougival near Paris, August 22, 1883) made a huge impression, the expression of which was a grandiose funeral. The body of the great writer was, according to his desire, brought to St. Petersburg and buried at the Volkovo cemetery with such a gathering of people, which had never before or since been at the funeral of a private person.

The purpose of the lesson: to expand students' knowledge about the personal and creative biography of the writer; to introduce the history of the creation of the novel “Fathers and Sons”, to start collecting material for the creation of a project by students, to draw up a summary during the lesson on the biography of the writer.

Lesson type: lesson of studying and primary consolidation of new knowledge

Used textbooks and tutorials:

1. Literature 10 cells. textbook in 2 parts, edited by V.I. Korovin. M. "Enlightenment", 2007.
2. Yu.V. Lebedev “Russian literature of the 19th century. Toolkit". M. "Enlightenment", 2001.
3. “The Complete Reader in Literature. Grade 10". M. "Olma-Press", 2002.
4. http://www.turgenev.org.ru/index.html - Internet project " Famous people Oryol province"

Used equipment: presentation

Epigraph:“What was he thinking, having lived a beautiful life and leaving this earth? What did he remember, lying at the window of a villa in Bougival near Paris, looking at barges and boats sailing along the Seine, at green meadows, chestnuts, poplars, ash trees, weeping willows, at sparkling clouds? What was he thinking as he left?

• What was he thinking, having lived a beautiful life and leaving this earth? What did he remember, lying at the window of a villa in Bougival near Paris, looking at barges and boats sailing along the Seine, at green meadows, chestnuts, poplars, ash trees, weeping willows, at sparkling clouds? What was he thinking as he left?

• to expand students' knowledge about the personal and creative biography of the writer;

• to acquaint with the history of the creation of the novel "Fathers and Sons";

• start collecting material for creating a project by students;

• make a summary during the lesson on the biography of the writer.

• 1. What is characteristic of the era in which I. S. Turgenev lived?

• 2. How was the era reflected in the writer's work?

• 3. What is the essence of the artistic attitude of I. S. Turgenev?

• 4. What are the socio-political views of the writer?

• 5. What requirements does I. S. Turgenev impose on his heroes?

• 6. Who are the "Turgenev girls"? What qualities should they have?

I.S. Turgenev was born on October 28, 1818 in Orel. It is difficult to imagine a greater contrast than the general spiritual appearance of Turgenev and the environment from which he directly emerged. His father, Sergei Nikolaevich, a retired cuirassier colonel, was a remarkably handsome man, insignificant in his moral and mental qualities. The son did not like to remember him, and in those rare moments when he spoke to his friends about his father, he characterized him as "a great fisher before the Lord."

The estate of Turgenev Spasskoe-Lutovinovo is the native nest of the great writer. Here he spent his childhood, he came here more than once and lived for a long time in adulthood. In Spassky-Lutovinovo, Turgenev worked on the creation of the novels Rudin, The Noble Nest, On the Eve, Fathers and Sons, Nov, wrote many stories, novels, and “poems in prose”. Turgenev's guests in Spassky-Lutovinovo were A. A. Fet, M. S. Shchepkin, N. A. Nekrasov. L. N. Tolstoy. M. G. Savina, V. M. Garshin and many other prominent representatives of Russian culture.

• Spasskoye-Lutovinovo and its shady linden alleys, its surroundings are reflected on the pages of "Notes of a Hunter", novels, stories, short stories by Turgenev, which all over the world glorified the dim, but full of irresistible charm, beauty of nature in central Russia.

• Turgenev's house in Spassky with its huge library, study, living room. “Savinskaya room” is inextricably linked with the memory of the writer’s creative thoughts, his heartfelt conversations and heated debates with friends, with the memory of the harsh Lutovinov antiquity.

Since 1850, Spasskoe-Lutovinovo began to belong to I. S. Turgenev. For many years, Ivan Sergeevich did not make radical changes to the arrangement of the house. however, under him, the purpose of the rooms and, accordingly, the furnishings changed to a large extent. The rooms for servants on the mezzanine were empty, there was no “own lady’s office”, only the former names remained behind the “maiden’s” and “casino”, the writer’s office was furnished to his liking, the library became one of the main rooms of the house.

The Lutovinov family was a mixture of cruelty, greed and voluptuousness (Turgenev depicted its representatives in Three Portraits and in Odnodvorets Ovsyanikov). Having inherited their cruelty and despotism from the Lutovinovs, Varvara Petrovna was also embittered by her personal fate. Having lost her father early, she suffered both from her mother, depicted as a grandson in the essay "Death" (an old woman), and from a violent, drunken stepfather, who, when she was small, savagely beat and tortured her, and when she grew up, began to pursue vile offers . On foot, half-dressed, she escaped to her uncle, I.I. Lutovinov, who lived in the village of Spassky - the same rapist who is described in Odnodvorets Ovsyanikov.

Almost completely alone, insulted and humiliated, Varvara Petrovna lived until the age of 30 in her uncle's house, until his death made her the owner of a magnificent estate and 5,000 souls. All the information that has been preserved about Varvara Petrovna depicts her in the most unattractive way. Through the environment of “beatings and tortures” created by her, Turgenev carried unscathed his soft soul, in which it was the spectacle of the fury of the landowners’ power, long before theoretical influences, that prepared a protest against serfdom. He himself was also subjected to cruel "beatings and tortures", although he was considered the beloved son of his mother.

• Love for Russian literature was secretly inspired in Turgenev by one of the serf valets, depicted by him, in the person of Punin, in the story "Punin and Baburin". Until the age of 9, Turgenev lived in the hereditary Lutovinovsky Spassky (10 versts from Mtsensk, Oryol province).

• In 1827 the Turgenevs settled in Moscow to educate their children; they bought a house on Samotek. Turgenev first studied at the boarding house of Weidenhammer; then he was given as a boarder to the director of the Lazarevsky Institute, Krause.

• In 1833, 15-year-old Turgenev (such an age of students, with the then low requirements, was a common phenomenon) entered the verbal department of Moscow University. A year later, because of the older brother who entered the guards artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University.

• As a student of the 3rd year, he presented to his court his drama Stenio, written in iambic pentameter, in Turgenev's own words, "an absolutely ridiculous work in which, with furious ineptitude, a slavish imitation of Byron's Manfred was expressed."

• In 1842, Turgenev, at the request of his mother, entered the office of the Ministry of the Interior. He was a very bad official, and the head of the office, Dal, although he was also a writer, was very pedantic about the service. The matter ended with the fact that after serving for a year and a half, Turgenev, to the considerable chagrin and displeasure of his mother, retired.

In 1847, Turgenev, together with the Viardot family, went abroad, lived in Berlin, Dresden, visited the sick Belinsky in Silesia, with whom he was united by the closest friendship, and then went to France. His affairs were in the most deplorable state; he lived on loans from friends, advances from the editors, and, moreover, on the fact that he reduced his needs to a minimum. Under the pretext of the need for solitude, he spent the winter months all alone in the empty villa of Viardot, then in the abandoned castle of Georges Sand, eating whatever he could.

In 1850, Turgenev returned to Russia, but he never saw his mother, who died the same year. Having shared with his brother a large fortune of his mother, he eased the hardships of the peasants he inherited as much as possible. In 1852, a thunderstorm unexpectedly hit him. After Gogol's death, Turgenev wrote an obituary, which the St. Petersburg censors did not let through, because, as the well-known Musin-Pushkin put it, "it is criminal to speak so enthusiastically about such a writer." Just to show that "cold" St. Petersburg was excited by the great loss, Turgenev sent an article to Moscow, V.P. Botkin, and he published it in Moskovskie Vedomosti.

In the intervals between his four famous novels, Turgenev wrote a thoughtful article "Hamlet and Don Quixote" (1860) and three wonderful stories: "Faust" (1856), "Asya" (1858), "First Love" (1860), in which gave some of the most attractive female images. Princess Zasekina ("First Love") is simply graceful and coquettish, but the heroine of "Faust" and Asya are unusually deep and whole natures. The first was burned from the depth of feeling that suddenly swooped down on her; Asya, like Natalya in "Rudin", fled from her feelings when she saw how the weak-willed person whom she fell in love did not correspond to his strength. - In "Fathers and Sons" Turgenev's work reached its climax.

With surprising sensitivity, reflecting the moods and trends of the era that were in the air, Turgenev himself, to a certain extent, was the creator of social trends. Turgenev's novels were not only read out: his heroes and heroines were imitated in life. Starting to depict the newly-born "children", Turgenev could not but be aware of his alienation from them. In "On the Eve" he stands on the side of the young heroes of the novel, and directly bows before Elena, who shocked so much with her deviations from the conventional morality of the people of the old generation. He could not feel such sympathy for Bazarov, with his materialistic contempt for art and poetry, with his harshness, so alien to Turgenev's soft nature.

Katkov, who published the novel in his journal, wrote to Turgenev: "You kowtow to the younger generation." But the novel appeared at a very critical moment: the old concept of "harmful" ideas came to life again, a nickname was needed to designate political radicalism. She was found in the word "nihilist", by which Bazarov defines his negative attitude towards everything. Turgenev noticed with horror what use this term was made by people with whose political views he had nothing in common. In literature, the hostile attitude towards the novel was most clearly reflected in the article by the critic of Sovremennik, M.A. Antonovich: "Asmodeus of our time". With Sovremennik, where until 1859 Turgenev was a permanent collaborator, he had previously established cold relations, partly because of Turgenev's personal relationship with Nekrasov, partly because the radicalism of Chernyshevsky and Dobrolyubov was not sympathetic to Turgenev.

In his stories of those years, Turgenev captured the image of a Russian woman at the moment of her spiritual awakening, at the time when she began to realize herself as a person: “... what is a Russian woman? What is her fate, her position in the world - in a word, what is her life? Turgenev's heroine is not satisfied with ordinary household chores, she "demands a lot from life, she reads, dreams ... about love ... but this word means a lot to her." She is waiting for a hero in whom everything is embodied for her: “both happiness, and love, and thought”, - a hero who is able to change the course of life, to resist “human vulgarity”. Believing in the hero, Turgenev's heroine "reveres him ... studies, loves."

The image of the Turgenev girl was not fixed. From story to story, the typical generalization that this image carried in itself became deeper and more modern, absorbing features that each time illuminate a new side of Russian reality. Turgenev's girls are similar in the main thing - in relation to the ideal of life. These are girls full of rainbow, "winged hopes", for the first time discovering a new world of bright feelings and thoughts.

• By the end of his life, Turgenev's fame reached its climax both in Russia, where he again becomes a universal favorite, and in Europe, where criticism, in the person of its most prominent representatives - Taine, Renan, Brandes and others - ranked him among the first writers of the century.

His visits to Russia in 1878-1881 were true triumphs. All the more painful was the news of the severe turn which, since 1882, had taken on his usual gouty pains. Turgenev died courageously, with full consciousness of the near end, but without any fear of it. His death (in Bougival near Paris, August 22, 1883) made a huge impression, the expression of which was a grandiose funeral.

• The body of the great writer was, according to his desire, brought to St. Petersburg and buried at the Volkovo cemetery with such a gathering of people, which had never before or since been at the funeral of a private person.

I.S. Turgenev. Review of creativity. What was he thinking, having lived a beautiful life and leaving this earth? What did he remember, lying at the window of a villa in Bougival near Paris, looking at barges and boats sailing along the Seine, at green meadows, chestnuts, poplars, ash trees, weeping willows, at sparkling clouds? What was he thinking as he left?

The main goals and objectives are to expand the knowledge of students about the personal and creative biography of the writer; to acquaint with the history of the creation of the novel "Fathers and Sons"; start collecting material for creating a project by students; make a summary during the lesson on the biography of the writer.

Questions for discussion 1. What is characteristic of the era in which I. S. Turgenev lived? 2. How was the era reflected in the writer's work? 3. What is the essence of the artistic attitude of I. S. Turgenev? 4. What are the socio-political views of the writer? 5. What requirements does I. S. Turgenev impose on his heroes? 6. Who are the "Turgenev girls"? What qualities should they have?

The writer's father I.S. Turgenev was born on October 28, 1818 in Orel. It is difficult to imagine a greater contrast than the general spiritual appearance of Turgenev and the environment from which he directly emerged. His father, Sergei Nikolaevich, a retired cuirassier colonel, was a remarkably handsome man, insignificant in his moral and mental qualities. The son did not like to remember him, and in those rare moments when he spoke to his friends about his father, he characterized him as "a great fisher before the Lord."

Family nest Turgenev's estate Spasskoye-Lutovinovo is the native nest of the great writer. Here he spent his childhood, he came here more than once and lived for a long time in adulthood. In Spassky-Lutovinovo, Turgenev worked on the creation of the novels Rudin, The Noble Nest, On the Eve, Fathers and Sons, Nov, wrote many stories, novels, and “poems in prose”. Turgenev's guests in Spassky-Lutovinovo were A. A. Fet, M. S. Shchepkin, N. A. Nekrasov. L. N. Tolstoy. M. G. Savina, V. M. Garshin and many other prominent representatives of Russian culture.

Spasskoye-Lutovinovo and its shady linden alleys, its surroundings are reflected on the pages of "Notes of a Hunter", novels, stories, short stories by Turgenev, which all over the world glorified the dim, but full of irresistible charm, beauty of nature in central Russia. manor house

Writer's study House of Turgenev in Spassky with its huge library, study, living room. “Savinskaya room” is inextricably linked with the memory of the writer’s creative thoughts, his heartfelt conversations and heated debates with friends, with the memory of the harsh Lutovinov antiquity.

Library Since 1850, Spasskoe-Lutovinovo began to belong to I. S. Turgenev. For many years, Ivan Sergeevich did not make radical changes to the arrangement of the house. however, under him, the purpose of the rooms and, accordingly, the furnishings changed to a large extent. The rooms for servants on the mezzanine were empty, there was no “own lady’s office”, only the former names remained behind the “maiden’s” and “casino”, the writer’s office was furnished to his liking, the library became one of the main rooms of the house.

The Lutovinov family The Lutovinov family was a mixture of cruelty, greed and voluptuousness (Turgenev portrayed its representatives in Three Portraits and in Odnodvorets Ovsyanikov). Having inherited their cruelty and despotism from the Lutovinovs, Varvara Petrovna was also embittered by her personal fate. Having lost her father early, she suffered both from her mother, depicted as a grandson in the essay "Death" (an old woman), and from a violent, drunken stepfather, who, when she was small, savagely beat and tortured her, and when she grew up, began to pursue vile offers . On foot, half-dressed, she escaped to her uncle, I.I. Lutovinov, who lived in the village of Spassky - the same rapist who is described in Odnodvorets Ovsyanikov.

The writer's mother Almost completely alone, insulted and humiliated, Varvara Petrovna lived up to 30 years in her uncle's house, until his death made her the owner of a magnificent estate and 5,000 souls. All the information that has been preserved about Varvara Petrovna depicts her in the most unattractive way. Through the environment of “beatings and tortures” created by her, Turgenev carried unscathed his soft soul, in which it was the spectacle of the fury of the landowners’ power, long before theoretical influences, that prepared a protest against serfdom. He himself was also subjected to cruel "beatings and tortures", although he was considered the beloved son of his mother.

Childhood Love for Russian literature was secretly inspired in Turgenev by one of the serf valets, depicted by him, in the person of Punin, in the story "Punin and Baburin". Until the age of 9, Turgenev lived in the hereditary Lutovinovsky Spassky (10 versts from Mtsensk, Oryol province).

Youth In 1827, the Turgenevs settled in Moscow to educate their children; they bought a house on Samotek. Turgenev first studied at the boarding house of Weidenhammer; then he was given as a boarder to the director of the Lazarevsky Institute, Krause. In 1833, 15-year-old Turgenev (such an age of students, with the then low requirements, was a common phenomenon) entered the verbal department of Moscow University. A year later, because of the older brother who entered the guards artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University. As a student of the 3rd year, he presented to his court his drama Stenio, written in iambic pentameter, in Turgenev's own words, "an absolutely ridiculous work in which, with furious ineptitude, a slavish imitation of Byron's Manfred was expressed." In 1827 the Turgenevs settled in Moscow to educate their children; they bought a house on Samotek. Turgenev first studied at the boarding house of Weidenhammer; then he was given as a boarder to the director of the Lazarevsky Institute, Krause. In 1833, 15-year-old Turgenev (such an age of students, with the then low requirements, was a common phenomenon) entered the verbal department of Moscow University. A year later, because of the older brother who entered the guards artillery, the family moved to St. Petersburg, and Turgenev then moved to St. Petersburg University. As a student of the 3rd year, he presented to his court his drama Stenio, written in iambic pentameter, in Turgenev's own words, "an absolutely ridiculous work in which, with furious ineptitude, a slavish imitation of Byron's Manfred was expressed."

In 1836, Turgenev completed the course with the degree of a real student. Dreaming of scientific activity, he again took the final exam the next year, received a candidate's degree, and in 1838 went to Germany. Having settled in Berlin, Turgenev diligently took up his studies. He did not so much have to "improve" as to sit down at the alphabet. Listening to lectures at the university on the history of Roman and Greek literature, he was forced to "cram" the elementary grammar of these languages ​​at home. A strong impression was made on Turgenev and the whole system of Western European life in general. The conviction entered into his soul that only the assimilation of the basic principles of universal culture could lead Russia out of the darkness in which it was immersed. In this sense, he becomes the most convinced "Westernizer". In 1841 Turgenev returned to his homeland. But in Turgenev the fever for professional scholarship had already caught cold; he is more and more attracted to literary activity. In 1843 it starts to print.

Adult life In 1842, Turgenev, at the request of his mother, entered the office of the Ministry of the Interior. He was a very bad official, and the head of the office, Dal, although he was also a writer, was very pedantic about the service. The matter ended with the fact that after serving for a year and a half, Turgenev, to the considerable chagrin and displeasure of his mother, retired.

In 1847, Turgenev, together with the Viardot family, went abroad, lived in Berlin, Dresden, visited the sick Belinsky in Silesia, with whom he was united by the closest friendship, and then went to France. His affairs were in the most deplorable state; he lived on loans from friends, advances from the editors, and, moreover, on the fact that he reduced his needs to a minimum. Under the pretext of the need for solitude, he spent the winter months all alone in the empty villa of Viardot, then in the abandoned castle of Georges Sand, eating whatever he could.

In 1850, Turgenev returned to Russia, but he never saw his mother, who died the same year. Having shared with his brother a large fortune of his mother, he eased the hardships of the peasants he inherited as much as possible. In 1852, a thunderstorm unexpectedly hit him. After Gogol's death, Turgenev wrote an obituary, which the St. Petersburg censors did not let through, because, as the well-known Musin-Pushkin put it, "it is criminal to speak so enthusiastically about such a writer." Just to show that "cold" St. Petersburg was excited by the great loss, Turgenev sent an article to Moscow, V.P. Botkin, and he published it in Moskovskie Vedomosti.

In the intervals between his four famous novels, Turgenev wrote a thoughtful article "Hamlet and Don Quixote" (1860) and three wonderful stories: "Faust" (1856), "Asya" (1858), "First Love" (1860), in which gave some of the most attractive female images. Princess Zasekina ("First Love") is simply graceful and coquettish, but the heroine of "Faust" and Asya are unusually deep and whole natures. The first was burned from the depth of feeling that suddenly swooped down on her; Asya, like Natalya in "Rudin", fled from her feelings when she saw how the weak-willed person whom she fell in love did not correspond to his strength. - In "Fathers and Sons" Turgenev's work reached its climax.

The Creator of Public Opinion With amazing sensitivity, reflecting the moods and trends of the era that were in the air, Turgenev himself, to a certain extent, was the creator of social trends. Turgenev's novels were not only read out: his heroes and heroines were imitated in life. Starting to depict the newly-born "children", Turgenev could not but be aware of his alienation from them. In "On the Eve" he stands on the side of the young heroes of the novel, and directly bows before Elena, who shocked so much with her deviations from the conventional morality of the people of the old generation. He could not feel such sympathy for Bazarov, with his materialistic contempt for art and poetry, with his harshness, so alien to Turgenev's soft nature.

Journal "Russian Messenger" Katkov, who published the novel in his journal, wrote to Turgenev: "You kowtow to the younger generation." But the novel appeared at a very critical moment: the old concept of "harmful" ideas came to life again, a nickname was needed to designate political radicalism. She was found in the word "nihilist", by which Bazarov defines his negative attitude towards everything. Turgenev noticed with horror what use this term was made by people with whose political views he had nothing in common. In literature, the hostile attitude towards the novel was most clearly reflected in the article by the critic of Sovremennik, M.A. Antonovich: "Asmodeus of our time". With Sovremennik, where until 1859 Turgenev was a permanent collaborator, he had previously established cold relations, partly because of Turgenev's personal relationship with Nekrasov, partly because the radicalism of Chernyshevsky and Dobrolyubov was not sympathetic to Turgenev.

The image of a Turgenev girl In his stories of those years, Turgenev captured the image of a Russian woman at the moment of her spiritual awakening, at the time when she began to realize herself as a person: “... what is a Russian woman? What is her fate, her position in the world - in a word, what is her life? Turgenev's heroine is not satisfied with ordinary household chores, she "demands a lot from life, she reads, dreams ... about love ... but this word means a lot to her." She is waiting for a hero in whom everything is embodied for her: “both happiness, and love, and thought”, - a hero who is able to change the course of life, to resist “human vulgarity”. Believing in the hero, Turgenev's heroine "reveres him ... studies, loves." The image of the Turgenev girl was not fixed. From story to story, the typical generalization that this image carried in itself became deeper and more modern, absorbing features that each time illuminate a new side of Russian reality. Turgenev's girls are similar in the main thing - in relation to the ideal of life. These are girls full of rainbow, "winged hopes", for the first time discovering a new world of bright feelings and thoughts.

The Last Years of His Life Towards the end of his life, Turgenev's fame reached its zenith both in Russia, where he again becomes a universal favorite, and in Europe, where criticism, in the person of its most prominent representatives - Taine, Renan, Brandes, etc. - ranked him among the first writers of the century. His visits to Russia in 1878-1881 were true triumphs. All the more painful was the news of the severe turn which, since 1882, had taken on his usual gouty pains. Turgenev died courageously, with full consciousness of the near end, but without any fear of it. His death (in Bougival near Paris, August 22, 1883) made a huge impression, the expression of which was a grandiose funeral. The body of the great writer was, according to his desire, brought to St. Petersburg and buried at the Volkovo cemetery with such a gathering of people, which had never before or since been at the funeral of a private person.

Topics of the projects “The connection of times has broken up…” “Retired people” and “Heirs” “What is Bazarov? – He is a nihilist” “Bazarov in the face of love and death”