And with Turgenev the artistic world of the writer. Methodical development of an open lesson "The Artistic World of I.S.
In one of his letters to Pauline, Viardot Turgenev speaks of the special excitement that a fragile green twig causes in him against the background of a distant blue sky. The writer is disturbed by the contrast between a thin twig, in which living life trembles tremblingly, and the cold infinity of the sky, indifferent to it. “I can’t stand the sky,” he says, “but life, reality, its whims, its accidents, its habits, its fleeting beauty ... I adore all this.”
More sharply than many Russian contemporary writers, Turgenev felt the short duration and fragility of human life, the inexorability and irreversibility of the rapid run of historical time. He possessed an amazing talent for disinterested, nothing relative and transient unlimited artistic contemplation. Once Turgenev said: “I feel as if I have died long ago, as if I belong to the past, but I have retained a living love for Goodness and Beauty. Only in this love there is nothing personal anymore, and when I look at some beautiful face, I think little about myself, about the possible relationship between this person and me ... There is, perhaps, the possibility of experiencing the death of myself in myself. , one of the most undoubted proofs of the immortality of the soul. So - I died - and yet I'm alive - and even, maybe, I became better and cleaner.
Unusually sensitive to everything topical and momentary, able to grasp life in its beautiful moments, Turgenev was endowed at the same time with the rarest sense of freedom from everything temporary, finite, personal and egoistic, from everything subjectively biased, clouding the sharpness of vision, breadth of view, completeness artistic perception. His love for life, for its whims and accidents, for its fleeting beauty, was reverent and selfless, completely free from any admixture of self-loving ego.
Turgenev's artistic vigilance is exceptional. But the more fully he grasps the beauty of passing moments, the more painfully he experiences their short duration. “Our time,” he says, “requires catch modernity in her transient images; You can't be too late." And he is not late. All six of his novels not so much fall into " currently» public life Russia, how much they are ahead of him, anticipate. Turgenev is especially sensitive to what stands "on the eve", what is still in the air. According to Dobrolyubov, Turgenev quickly guesses "new needs, new ideas introduced into the public consciousness, and in his works he certainly draws attention to the question that is on the line and is already vaguely beginning to excite society."
An impartial, spiritual love for life allows Turgenev to see it in all its diversity, in motion and development. He was sometimes called a chronicler who created the history of the Russian intelligentsia with a series of his novels. But such a definition does not correspond to the nature of the writer's talent. The chronicler-chronicler is led historical events, he follows them on their heels, he describes the facts that have already taken place. Turgenev does not keep his distance. In his works, he constantly runs ahead. A rare artistic flair and disinterested freedom of perception allow him to capture the future by obscure, still vague touches of the present and recreate it, ahead of time, in unexpected concreteness and living fullness. Turgenev carried this gift all his life like a heavy cross: he caused constant irritation among his contemporaries. But such is the fate of any artist endowed with the gift of "foresight and foreboding", any prophet in his Fatherland. When the struggle subsided, there was a lull, the same persecutors went to bow to him with a surrendered head.
Looking ahead, Turgenev determined the paths and prospects for the development of literature in the second half of the nineteenth century. In the "Notes of a Hunter" Tolstoy's epic, "the thought of the people," is already foreseen. The spiritual quests of Andrei Bolkonsky and Pierre Bezukhov are outlined by a dotted line in Lavretsky from “ noble nest". In "Fathers and Sons" Dostoevsky is anticipated, the characters of his heroes from Rodion Raskolnikov to Ivan Karamazov.
Unlike epic writers, Turgenev depicted life not in a daily and extended flow, but in its sharp and dramatic situations. In addition, the spiritual image of the people of the cultural stratum of society in the era of Turgenev changed very quickly. This brought a dramatic note to the writer's novels: they are distinguished by a swift plot, a bright, fiery climax and a sharp, unexpected decline with a tragic, as a rule, ending. They cover a short period of time, so accurate chronology plays a significant role in them. The life of Turgenev's hero is extremely limited in space and time. If the characters of Onegin and Pechorin "reflected the century", then in Rudin, Lavretsky, Insarov and Bazarov - the spiritual search of the decade. The life of Turgenev's heroes is like a brightly flashing, but quickly fading spark in the ocean of time. History measures them a tense, but too short fate. All his novels are included in the rigid rhythms of the annual natural cycle. The action in them begins in the spring, culminates in the hot days of summer, and ends under the "whistle of the autumn wind" or in the "cloudless silence of the January frosts." Turgenev shows his heroes in happy moments of their full development and flourishing. vitality. But it is precisely here that their inherent contradictions are revealed with catastrophic force. Therefore, these moments turn out to be tragic: Rudin dies on the Parisian barricades, on a heroic rise, the life of Insarov suddenly ends, and then Bazarov, Nezhdanov ...
And yet, the tragic endings in Turgenev's novels are not the result of the writer's fatigue or disappointment in the sense of life, in the course of history. Rather, on the contrary: they testify to such a love for life that comes to a thirst for immortality, to a daring desire that the human individuality does not disappear, that the beauty of the phenomenon, having reached fullness, does not fade away, but turns into beauty eternally abiding on Earth. In his novels, through topical events, behind the backs of the heroes of time, the breath of eternity is felt. His Bazarov, for example, says: “The narrow place that I occupy is so tiny in comparison with the rest of the space where I am not and where I don’t care; and the part of the time that I will be able to live is so insignificant before eternity, where I was not and will not be ... And in this atom, in this mathematical point, the blood circulates, the brain works, it also wants something ... What a ugly, what a trifle!” The nihilist Bazarov is skeptical. But we note that at the limit of denying the meaning of life, a secret embarrassment awakens in him, even some kind of confusion before the paradoxical power of the human spirit, which refutes his vulgar materialism. After all, if Bazarov is aware of the biological imperfection of a person with his mortal nature, if he is indignant at this imperfection, then he is also given a spiritualized starting point that elevates his “I” above “indifferent nature”. This means that he, too, unconsciously carries in himself a particle of another, more perfect being, has the Kingdom of Divinity of truth, that those who rebel against the higher world order in their own way, from the contrary, prove its existence.
Yes, and “On the Eve” is not only a novel about Russia’s impulse to new public relations, about consciously heroic natures pushing life forward, but it is also a novel about the eternal search and the eternal challenge that the daring human personality blind and indifferent laws of imperfect nature. Suddenly, Insarov falls ill, not having had time to carry out the great work of liberating Bulgaria. The Russian girl Elena, who loves him, cannot come to terms with the fact that this is the end, that this disease is incurable. "Oh my God! - thought Elena, - why death, why separation, illness and tears? or why this beauty, this sweet feeling of hope, why the soothing awareness of a lasting refuge, unchanging protection, immortal patronage? What does this smiling, blessing sky mean, this happy, resting earth? Is it really all only in us, and outside of us is eternal cold and silence? Are we really alone ... alone ... and there, everywhere, in all these inaccessible abysses and depths - everything, everything is alien to us? Why then this thirst and joy of prayer?
Unlike Dostoevsky and Tolstoy, Turgenev does not give a direct answer to eternal question. He only reveals the secret, bowing his knees before the beauty that embraces the world: “Oh, how quiet and gentle was the night, how dove-like meekness the azure air breathed, like any suffering, any grief should have been silent and fall asleep before this clear sky, under these holy, innocent rays. !" Turgenev will not formulate Dostoevsky's winged thought: "Beauty will save the world." But all his novels affirm faith in the world-changing power of beauty, in the creative power of art. They nurture the hope for the steady liberation of life from the power of the blind material process, the great hope of mankind for the transformation of the mortal into the immortal, the temporal into the eternal.
It is to her, to the beauty that promises to save the world, that Turgenev stretches out his hands. With Turgenev, not only in literature, but also in life, the poetic image of the companion of the Russian hero, the "Turgenev girl" - Natalia Lasunskaya, Liza Kalitina, Elena Stakhova, Marianna entered into life ... soul, all its dormant possibilities will wake up to a temporary triumph. In these moments, the spiritualized female being is beautiful in that it transcends itself. Such an excess of vital forces appears that will not receive a response and earthly incarnation, but will remain a tempting promise of something infinite, higher and Perfect than material world, - pledge of eternity . “Man on earth is a transitional being, who is in a state of general genetic growth,” says Dostoevsky. Turgenev is silent. But with intense attention to extraordinary ups human soul it confirms the truth of this thought.
Together with the image of the "Turgenev girl", the image of "Turgenev's love" is included in the writer's works. As a rule, this is the first love, spiritualized and chastely pure: “The monotonous-correct structure of the existing Life is broken and destroyed in an instant, youth stands on the barricade, its bright banner flies high, and no matter what awaits it ahead - death or new life- she sends her enthusiastic greetings to everything. All Turgenev's heroes are tested by love - a kind of test of viability.
A loving person is beautiful, spiritually inspired. But the higher he flies on the wings of love, the closer the tragic denouement and the fall ... Love, according to Turgenev, is tragic because both the weak and the weak are defenseless against its elemental power. strong man. Wayward, fatal, uncontrollable, love whimsically disposes of human destiny. It is not given to anyone to predict when this feeling, like a whirlwind, will swoop in and catch a person on its mighty wings, and when it will fold these wings.
Love is tragic also because the ideal dream that inspires the soul of a person in love is not feasible V within the earthly, natural circle. Turgenev, more than any of the Russian writers, discovered the ideal meaning of love.
The light of love for Turgenev was never limited to sensual desires. He was for him guiding star to the triumph of beauty and immortality. That is why he looked so sensitively at the spiritual essence of the first love, pure, fiery and chaste. The love that promises a person in his beautiful moments triumph over death. That feeling where the temporal merges with the eternal in a higher synthesis. Here is the secret of the ennobling influence of Turgenev's books on human hearts.
Novel, conflict, nihilism, aristocracy, commoners, controversy.
Topic study plan:
1. "Fathers and sons." The temporary and all-human meaning of the title and the main conflict of the novel.
2. Features of the composition of the novel. Bazarov in the system of images. Nihilism of Bazarov and a parody of nihilism in the novel (Sitnikov and Kukshina).
3. Moral issues novel and its universal significance.
4. The theme of love in the novel. Image of Bazarov. Peculiarities of Turgenev's poetics. The role of the landscape in revealing the ideological and artistic concept of the writer.
6. Controversy around the novel: D. Pisarev, N. Strakhov, M. Antonovich.
Topic 1.5. Art world F.I. Tyutchev and A.A. Feta
Basic concepts and terms on the topic: poetry, philosophy, lyrics, harmony and melodiousness of lyrics.
Topic study plan:
1. Information from the biography of F.I. Tyutchev. Poems: "Silentium", "Not what you think, nature ...", "Russia cannot be understood with the mind ...", "Oh, how deadly we love", " last love”, “I knew the eyes, - oh, these eyes”, “We are not given to predict ...”, “K. B." (“I met you - and all the past ...”), “Day and night”, “These poor villages ...”, “She was sitting on the floor ...”, etc.
2. Philosophy is the basis of the poet's lyrics. The symbolism of the images of F.I. Tyutchev.
3. Socio-political lyrics. F. I. Tyutchev, his vision of Russia and its future. Lyrics of love. The disclosure of the poet's dramatic experiences in it.
4. Information from the biography of A.A. Fet. Poems: "Autumn", "Whisper, timid breathing…”, “The night shone. The garden was full of moon...”, “More may night...”, “At dawn, don’t wake her up ...”, “This morning, this joy ...”, “Another forgetful word”, “Evening”, “Butterfly”, etc.
5. Poetry as an expression of the ideal and beauty. Merging of external and inner world in his poetry. Harmony and melody of A.A. Feta. Lyrical hero in the poetry of A.A. Feta.
Topic 1.6. The artistic world of N.A. Nekrasov
Basic concepts and terms on the topic: civil pathos, lyrical hero, folk poetry, poetic language, intimate lyrics.
Topic study plan:
1. Information from the biography of N.A. Nekrasov. Poems: "Motherland", "Yesterday, at six o'clock ...", "On the road", "You and I are stupid people", "Troika", "Poet and citizen", "Crying children", "Oh Muse, I the door of the coffin…”, “I don’t like your irony…”, “Blessed is the gentle poet…”, “Listen to the horrors of war…”. Poem "To whom it is good to live in Rus'".
2. Civic pathos of the lyrics. originality lyrical hero 40s-50s and 60s-70s.
April 27, 2018 at the Institute of Philology of the Moscow State Pedagogical University a round table “The Artistic World of I.S. Turgenev in context modern culture”, dedicated to the 200th anniversary of the birth of I.S. Turgenev. Round table was organized by the Department of Russian Literature. It was held within the framework of the XII youth interuniversity scientific and practical session “Science Week of Youth of the North-Eastern Administrative District of Moscow”.
The participants of the round table were students of the Institute of Philology of 2-5 courses, masters and graduate students, faculty of the Institute of Philology, primarily the departments of Russian literature and the department of methods of teaching literature.
The Deputy Director of the Institute of Philology for scientific work Professor V.N. Bazylev.
Within the framework of the Round Table, it was tested new form organizations research activities students at MSGU. Bachelors, undergraduates and graduate students made presentations, and the faculty of the Department of Russian Literature - in the debate on each of the reports.
More than twenty bachelors, masters and postgraduates took part in the work of the Round table. From the faculty of the Institute of Philology, the Round Table was attended by: professors and associate professors of the Department of Russian Literature - Evgenia Vasilievna Nikolaeva, Dmitry Vladimirovich Pol, Sergei Veniaminovich Sapozhkov, Elena Vladislavovna Ivanova.
During the entire session of the Round Table, the moderators - Ekaterina Vyacheslavovna Egorova and Sergey Vladimirovich Tikhomirov - acted both as moderators of the discussion and as participants in the discussion.
14 members Krugly made presentations on various aspects of poetics, interpretation in art and methods of studying the work of I.S. Turgenev, namely:
- Turgenev's mythopoetics (report by a student Natalya Alksnit on the topic of: "Mythopoetic motives in Turgenev: the image of the water element in the essay ʺBezhin meadowʺ and the story ʺAsyaʺ",), including the mythological one in the Turgenev landscape (report of the undergraduate Victoria Aslanova on the topic of: "Mythologeme of the Forest in Goethe's (Zhukovsky's) Ballad 'The Forest King' and in Turgenev's Essay 'Bezhin Meadow'") and the images of its characters (report of the undergraduate Yulia Isakova on the topic of: "Historical" and "mythological" in the image of Elena Stakhova in Turgenev's novel "On the Eve");
- female portraiture by Turgenev (student report Grigory Stolnikov on the topic « Female portrait in the story by I.S. Turgenev "Spring Waters");
– interpretations of Turgenev’s works in art: in painting (report by a student Elizabeth Khudyakova on the topic: “‘Notes of a hunter’ by I. S. Turgenev in a picturesque interpretation”) and in contemporary theater(student report Oksana Chapli on the topic of: "Another Play: Premiere of 'Moo-Moo' at the Theater of Nations");
– educational and scientific reading of Turgenev (report by a student Anastasia Ilyina on the topic “The story of I.S. Turgenev "Mumu": the experience of school and modern scientific reading");
- the work of W. Shakespeare in Turgenev's understanding (report by a student Ekaterina Yatskiv on the topic of: “The work of W. Shakespeare in the reception of I. S. Turgenev. The image of Hamlet in the life and work of the writer);
- Turgenev's poetry in the reception of K.D. Balmont (student report Jacqueline Vartazarova on the topic: “The Giant with a Silver Head”: I.S. Turgenev through the eyes of K.D. Balmont".
Several reports were devoted to Turgenev's "mysterious stories" and the problems of the fantastic in his work. in the report Maria Vikhreva “The comparative aspect of the romantic and realistic interpretation of the plot in the work of V.A. Zhukovsky and I.S. Turgenev" the ballad "The Forest King" and the story "The Story of Father Alexei" were compared. The student focused on the poetics of the story "Clara Milic" Maria Basaria (she made a presentation on the topic: "Fatal threads of love (analysis of some aspects of the story by I.S. Turgenev ʺKlara Milichʺ») and graduate student Olga Bykova (report on the topic: "Musical and sound images in the novel by I. S. Turgenev ʺKlara Milichʺ".
Reports in the comparative aspect were made by a student Alina Lisova (“Comparative and comparative aspect of short stories by E.A. Poe and later stories by I.S. Turgenev”) and undergraduate Anastasia Anisimova (« Aesthetics of the fantastic in the work of E. Poe and J.S. Turgenev").
The discussion of the reports was lengthy, positive and exciting. Within the framework of the Round Table, discussions were held at which the problems of studying Turgenev at school and at the university were discussed.
According to the participants and organizers, the Round Table is of great importance in preparing speakers for future presentations at conferences, including dedicated to creativity I.S. Turgenev, which will be held in the fall of 2018, as well as to pre-defenses and defenses of final qualification, master's theses and dissertations.
Based on the results of the Round Table, the publication of the abstracts of the participants' reports is being prepared.
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19 / 12 / 2019Department of Scientific and fiction KGF expresses its gratitude to the authors for donated books. Informative and high-quality publications have significantly replenished book fund libraries. The donated editions have taken a worthy place in the fund of our library. Voronin Vsevolod Evgenievich - Doctor of Historical Sciences, Professor, Deputy Head...
19 / 12 / 2019Dear teachers! The library of the Institute of Philology and the Institute of Journalism, Communications and Media Education thanks you for your invaluable contribution to the formation of the fund! Trubina Lyudmila Alexandrovna - Doctor of Philology, Professor of the Department of Russian Literature of the XX-XXI centuries of the Institute of Philology of the Moscow State Pedagogical University, Vice-Rector for Educational and Methodological Work of the Moscow State Pedagogical University....
17 / 12 / 2019On December 13-14, events were held in Baku (Azerbaijan) under the program supported by the Russian Humanitarian Mission and the International Association of Teachers of Russian Language and Literature (MAPRYAL). The Russian delegation included the head. Laboratory of Interdisciplinary Philological Projects in Education, Assoc. department of methodology...
16 / 12 / 2019On December 12-13, the Higher School of Economics hosted an international scientific and practical conference "Language Education: Traditions and Modernity", dedicated to the memory of Doctor of Pedagogical Sciences, Professor Elena Nikolaevna Solovova. Elena Nikolaevna, a prominent scientist and teacher, a graduate of our university, made a significant contribution to the development of language education...
16 / 12 / 2019Dear readers! A new textbook by Glotova Marina Yurievna, Candidate of Physical and Mathematical Sciences, Associate Professor and Head of the Department, is available for reading at EBS MPGU information technologies in Education and Samokhvalova Evgenia Alexandrovna - Senior Lecturer of the Department of Information Technologies in Education of the Institute of Mathematics...
16 / 12 / 2019Dear readers! A new monograph by Valery Igorevich Shuvalov, Doctor of Philology, Professor, Associate Professor of the Department, is available for reading at EBS MPGU German language Institute of Foreign Languages of the Moscow State Pedagogical University: Metaphor in the lexical system of the modern German language [Electronic resource]: monograph / V. I. Shuvalov;...
15 / 12 / 2019On Thursday, December 12, 2019, several groups of 1st year students of the Artistic and Graphic Faculty of the Institute of Fine Arts of the Moscow State Pedagogical University with curators and mentors visited the New Tretyakov Gallery ( Crimean Val, 10). The New Tretyakov Gallery presents the most complete permanent exhibition in our country domestic art XX...
