Problems of morality in the works of Russian writers. Moral problems of the works of the late XX century

Krasova A.A. 1

Smarchkova T.V. 1

1 State budgetary educational institution of the Samara region, secondary comprehensive school With. Pestravka municipal district Pestravsky, Samara region

The text of the work is placed without images and formulas.
Full version work is available in the "Files of work" tab in PDF format

I. Introduction.

We live in the 21st century .., in a complex, but interesting times. Perhaps for recent decades there have been the most significant changes in history, in the way of life of mankind. It has been historically proven that in an era of change, an understanding of honor, pride, and dignity is especially important for the formation younger generation. Recent 70th Anniversary Great Victory, the wars in Chechnya and Iraq - all this is directly interconnected by one link - a person. A person is always in his personal life, whether in public life, he is faced with a choice, it depends on him what will happen to him in extreme situations. As far as he understands the importance of moral values, morality in life, he feels himself responsible for his actions. That is what got me interested. What do our youth think about this now, as a modern and ancient literature reflect the problems of mankind, the Russian people. These terms are the object of this work.

The purpose of the research work:

To trace how in Russian literature the problem of honor, dignity, national pride Russian person.

There were also common tasks in the work:

Deepen knowledge on ancient Russian literature, literature of the 19th century, literature of the war years.

Compare how the attitude to moral values ​​is shown in ancient Russian literature.

To analyze how Russian literature of different years reflects the role of a person in society at turning points.

To trace how the Russian national character is revealed in Russian literature of different years.

The main method is literary research.

II. The problem of human moral choice in Russian literature.

1. The theme of honor and national pride in Russian folklore.

Problem moral quest man is rooted in ancient Russian literature, in folklore. It is associated with the concepts of honor and dignity, patriotism and valor. Let's look into Dictionary. Honor and dignity - professional duty and moral standards business communication; worthy of respect and pride moral qualities, principles of a person; legally protected personal non-property and inalienable benefits, meaning a person's awareness of his social significance.

Since ancient times, all these qualities have been valued by man. They helped him in difficult life situations choice.

To this day, we know such proverbs: “Whoever is honored, that is the truth”, “Without a root, a blade of grass does not grow”, “A man without a Motherland is a nightingale without a song”, “Take care of honor from a young age, and a dress again” 1. The most interesting sources on which it relies modern literature are fairy tales and epics. But their heroes are heroes and fellows, embodying the strength, patriotism, nobility of the Russian people. These are Ilya Muromets, and Alyosha Popovich, and Ivan Bykovich, and Nikita Kozhemyaka, who defended their Motherland and honor, risking their lives. And although epic heroes- fictional characters, but their images are based on life real people. In ancient Russian literature, their exploits are, of course, fantastic, and the heroes themselves are idealized, but this shows what a Russian person is capable of if the honor, dignity and future of his land are at stake.

2.1. The problem of moral choice in Old Russian literature.

The approach to the problem of moral choice in ancient Russian literature is ambiguous. The Galicia-Volyn Chronicle of the 13th century ... It is considered one of the most interesting monuments Old Russian literature relating to the period of the struggle of Russian principalities with foreign invaders. A fragment of an Old Russian text concerning the trip of Prince Daniel of Galicia to bow to Batu in the Horde is very interesting. The prince had to either rebel against Batu and die, or accept the faith of the Tatars and humiliation. Daniel goes to Batu and feels the trouble: "in great sorrow", "seeing the trouble is terrible and formidable." Here it becomes clear why the prince grieves with his soul: “I will not give my half-faith, but I will go to Batu myself ...” 2. He goes to Batu to drink mare's koumiss, that is, to take an oath in the service of the khan.

Was it worth it to Daniel to do this, was it treason? The prince could not drink and show that he did not submit and die with honor. But he does not do this, realizing that if Batu does not give him a label to rule the principality, this will lead to the inevitable death of his people. Daniel sacrifices his honor for the sake of saving the Motherland.

Fatherly care, honor and pride make Daniel drink the "black milk" of humiliation in order to ward off misfortune from his native land. The Galician-Volyn chronicle warns against a limited and narrow view of the problem of moral choice, of understanding honor and dignity.

Russian literature reflects the complex world of the human soul, torn between honor and dishonor. Self-esteem, the desire in any situation to remain a Human being with every right can be put in one of the first places among the historically established traits of the Russian character.

The problem of moral quest has always been a fundamental one in Russian literature. It was closely connected with other deeper questions: how to live in history? what to hold on to? what to guide?

2.2. The problem of moral choice in the literature of the 19th century (based on the works of I.S. Turgenev).

Ivan Sergeevich Turgenev wrote the story "Mumu" 3 , reflecting in it his feelings and concerns about the fate of Russia and the future of the country. It is known that Ivan Turgenev, as true patriot, thought a lot about what awaits the country, and the events in Russia in those days were far from the most joyful for the people.

In the image of Gerasim, such magnificent qualities are revealed that Turgenev would like to see in a Russian person. For example, Gerasim has considerable physical force, he wants and can work hard, the matter is arguing in his hands. Gerasim is also neat and clean. He works as a janitor and approaches his duties with responsibility, because thanks to him the owner's yard is always clean and tidy. The author shows his somewhat reclusive character, since Gerasim is unsociable, and even a lock always hangs on the doors of his closet. But this formidable appearance does not correspond to the kindness of his heart and generosity, because Gerasim is open-hearted and knows how to sympathize. Therefore, it is clear that it is impossible appearance to judge the inner qualities of a person. What else can be seen in the image of Gerasim when analyzing "Mumu"? He was respected by all the household, which was deserved - Gerasim worked hard, as if he were following the orders of the hostess, while not losing his sense of self-respect. Main character story, Gerasim never became happy, because he is a simple village peasant, and city life is built in a completely different way and flows according to its own laws. The city does not feel unity with nature. So Gerasim, once in the city, understands that he is bypassed. Having fallen in love with Tatyana, he is deeply unhappy because she becomes the wife of another.

At a difficult moment in life, when the main character is especially sad and hurt at heart, a ray of light is suddenly visible. Here it is, the hope for happy moments, a cute little puppy. Gerasim saves the puppy and they become attached to each other. The puppy was named Mumu, and the dog is always with his big friend. At night, Mumu guards, and wakes up the owner in the morning. It seems that life is filled with meaning and becomes happier, but the lady becomes aware of the puppy. Deciding to subjugate Mumu, she experiences a strange disappointment - the puppy does not obey her, but the lady is not used to ordering twice. Can you command love? But that's another question. The mistress, accustomed to seeing how her instructions are carried out at the same moment and meekly, cannot bear the disobedience of a small creature, and she orders the dog out of sight. Gerasim, whose image is well revealed here, decides that Mumu can be hidden in his closet, especially since no one goes to him. He does not take into account one thing: he is deaf-mute from birth, while others hear the barking of a dog. With his barking, the puppy reveals himself. Then Gerasim realizes that he has no choice but to resort to drastic measures, and he kills the puppy, who has become his only friend. The gloomy Gerasim cries when he goes to drown his beloved Mumu, and after her death he goes on foot to the village where he used to live.

In the image of Gerasim, the author showed an unfortunate serf peasant. Serfs "dumb", they cannot claim their rights, they simply obey the regime, but in the soul of such a person there is hope that someday his oppression will end.

A new work by I.S. Turgenev's "On the Eve" 4 was a "new word" in Russian literature, caused noisy talk and controversy. The novel was read with avidity. “The very name of it,” according to the critic of the Russian Word, “with its symbolic hint, which can be given a very broad meaning, pointed to the idea of ​​the story, made one guess that the author wanted to say something more than what is contained in his artistic images". What was the idea, features, novelty of Turgenev's third novel?

If in "Rudin" and " noble nest" Turgenev depicted the past, painted images of people of the 40s, then in "On the Eve" he gave an artistic reproduction of the present, responded to those cherished thoughts that, during the period of social upsurge in the second half of the 50s, worried all thinking and advanced people.

Not idealistic dreamers, but new people, goodies, the ascetics of the cause were bred in the novel "On the Eve". According to Turgenev himself, the basis of the novel was "the idea of ​​the need for consciously heroic natures in order for things to move forward", that is, we are talking about the problem of choice.

In the center, in the foreground, stood female image. The whole meaning of the novel was fraught with a call for "active good" - for social struggle, for the renunciation of the personal and selfish in the name of the common.

In the heroine of the novel, the "amazing girl" Elena Stakhova, acted " new person» Russian life. Elena is surrounded by gifted youth. But neither Bersenev, who has just graduated from the university and is preparing to become a professor; nor the talented sculptor Shubin, in whom everything breathes with intelligent lightness and happy cheerfulness of health, in love with antiquity and thinking that “outside of Italy there is no salvation”; not to mention Kurnatovsky's "fiance", this "official honesty and efficiency without maintenance" 5 did not awaken Elena's feelings.

She gave her love to Insarov, a Bulgarian foreigner, a poor man, who had one great goal in life - the liberation of his homeland from Turkish oppression and in whom "the concentrated deliberation of a single and long-standing passion" lived. Insarov conquered Elena by responding to her vague but strong desire for freedom, captivated her with the beauty of the feat in the struggle for the “common cause”.

The choice made by Elena, as it were, indicated what kind of people Russian life was waiting for and calling. Among "their own" there were none - and Elena went to the "alien". She, a Russian girl from a wealthy noble family, became the wife of a poor Bulgarian Insarov, left her home, family, homeland, and after the death of her husband remained in Bulgaria, faithful to the memory and “lifelong cause” of Insarov. She decided not to return to Russia. "For what? What to do in Russia?

In a wonderful article devoted to the novel “On the Eve,” Dobrolyubov wrote: “There are already such concepts and requirements that we see in Elena; these demands are accepted by society with sympathy; Moreover, they strive for active implementation. This means that the already old social routine is becoming obsolete: a few more hesitation, a few more strong words and favorable facts, and figures will appear ... Then in literature too, a complete, sharply and vividly outlined image of the Russian Insarov will appear. And we won't have long to wait for him: that feverish, tormenting impatience with which we await his appearance in life guarantees this. It is necessary for us, without it our whole life somehow doesn't count, and every day means nothing in itself, but serves only as the eve of another day. He will come, finally, this day! 6

Two years after The Eve, Turgenev wrote the novel Fathers and Sons, and in February 1862 he published it. The author tried to show the Russian society the tragic nature of the growing conflicts. The reader discovers economic troubles, the impoverishment of the people, the decay of traditional life, the destruction of centuries-old ties between the peasant and the land. The stupidity and helplessness of all classes threatens to develop into confusion and chaos. Against this background, a dispute is unfolding about the ways to save Russia, which is being waged by heroes representing the two main parts of the Russian intelligentsia.

Russian literature has always tested the stability and strength of society by the family and family relationships. Starting the novel with the depiction of a family conflict between father and son Kirsanov, Turgenev goes further, to a clash of a social, political nature. Relationships between characters conflict situations are revealed mainly from an ideological point of view. This is reflected in the peculiarities of the construction of the novel, in which such a large role is played by the disputes of the characters, their painful reflections, passionate speeches and outpourings, and the decisions they come to. But the author did not turn his characters into spokesmen for his own ideas. The artistic achievement of Turgenev is his ability to organically connect the movement of even the most abstract ideas of his heroes and their life positions.

For the writer, one of the decisive criteria in determining a person was how this person relates to the present, to the life around her, to the current events of the day. If you look closely at the "fathers" - Pavel Petrovich and Nikolai Petrovich Kirsanov, the first thing that catches your eye is that they, in fact, are not very old people, do not understand and do not accept what is happening around them.

It seems to Pavel Petrovich that the principles that he learned in his youth favorably distinguish him from people who listen to the present. But Turgenev, at every step, without much pressure, quite unambiguously shows that in this stubborn desire to show his contempt for modernity, Pavel Petrovich is simply comical. He plays a certain role, which from the outside is simply ridiculous.

Nikolai Petrovich is not as consistent as his older brother. He even says that he likes young people. But in fact, it turns out that in modern times he understands only that which threatens his peace.

Turgenev brought out in his novel several people striving to keep up with the times. This is Kukshina and Sitnikov. In them, this desire is expressed very clearly and unambiguously. Bazarov usually speaks to them in a disdainful tone. It's harder for him with Arkady. He is not as stupid and petty as Sitnikov. In a conversation with his father and uncle, he quite accurately explained to them such a complex concept as a nihilist. He is already good because he does not consider Bazarov "his brother." This brought Bazarov closer to Arkady, made him treat him softer, more condescendingly than Kukshina or Sitnikov. But Arkady still has a desire to grasp something in this new phenomenon, to somehow approach it, and he grasps only at external signs.

And here we are faced with one of the most important qualities of Turgenev's style. From the first steps of his literary activity, he widely used irony. In the novel "Fathers and Sons", he awarded this quality to one of his heroes - Bazarov, who uses it in a very diverse way: irony for Bazarov is a means of separating himself from a person whom he does not respect, or "correcting" a person to whom he hasn't waved yet. Such are his ironic antics with Arkady. Bazarov also owns another type of irony - irony directed at himself. He is ironic about both his actions and his behavior. Suffice it to recall the scene of the duel between Bazarov and Pavel Petrovich. He is ironic here at Pavel Petrovich, but no less bitterly and evilly at himself. At such moments, Bazarov appears in all the power of his charm. No self-satisfaction, no self-love.

Turgenev leads Bazarov through the circles of life's trials, and it is they who reveal with real completeness and objectivity the measure of the hero's rightness and wrongness. "Complete and ruthless denial" is justified as the only serious attempt to change the world, putting an end to contradictions. However, for the author, it is also indisputable that the internal logic of nihilism inevitably leads to freedom without obligations, to action without love, to searches without faith. The writer does not find a creative creative force in nihilism: the changes that the nihilist envisages for real people, in fact, are tantamount to the destruction of these people. And Turgenev reveals contradictions in the very nature of his hero.

Bazarov, who survived love, suffering, can no longer be an integral and consistent destroyer, ruthless, unshakably self-confident, breaking others simply by the right of the strong. But Bazarov also cannot reconcile himself by subordinating his life to the idea of ​​self-denial, or seek consolation in art, in a sense of accomplishment, in selfless love for a woman - for this he is too angry, too proud, too unbridled, wildly free. The only possible solution to this contradiction is death.

Turgenev created a character so complete and internally independent that the only thing left for the artist was not to sin against the internal logic of character development. There is not a single significant scene in the novel in which Bazarov would not participate. Bazarov passes away, and the novel ends. In one of the letters, Turgenev admitted that when he "wrote Bazarov, he ultimately felt not dislike for him, but admiration. And when he wrote the scene of Bazarov's death, he sobbed bitterly. These were not tears of pity, these were the tears of an artist who saw the tragedy huge man in which part of his own ideal was embodied.

"Fathers and Sons" caused fierce controversy throughout the history of Russian literature XIX century. Yes, and the author himself, with bewilderment and bitterness, stopped before the chaos of contradictory judgments: greetings from enemies and slaps from friends. In a letter to Dostoevsky, he wrote with chagrin: “No one seems to suspect that I tried to present a tragic face in him - and everyone is interpreting - why is he so bad? Or why is he so good? 8

Turgenev believed that his novel would serve the cause of rallying the social forces of Russia, help many young people make the right less tragic choice, which Russian society heeds his warnings. But the dream of a united and friendly all-Russian cultural stratum of society did not come true.

3.1. The problem of moral choice in the literature on the Great Patriotic War.

But it also happens that human dignity and honor are the only weapons in the conditions of the cruel laws of existence on this earth. It helps to understand small work Soviet writer of the 20th century by M. Sholokhov "The Fate of a Man" 9, which opens the topic of fascist captivity, forbidden in Soviet literature. The work raises important questions about national dignity and pride, about the responsibility of a person for his moral choice.

On the life path of Andrei Sokolov, the main character of the story, there were many obstacles, but he proudly carried his “cross”. The character of Andrei Sokolov manifests itself in the conditions of fascist captivity. Here both patriotism and pride of the Russian people. The call to the commandant of the concentration camp is a difficult test for the hero, but he emerges from this situation as a winner. Going to the commandant, the hero mentally says goodbye to life, knowing that he will not ask for mercy from the enemy, and then one thing remains - death: “I began to gather my courage to look into the hole of the pistol fearlessly, as befits a soldier, so that the enemies saw […] that it is still difficult for me to part with life…” 10

Andrei does not lose pride in front of the commandant himself. He refuses to drink schnapps for the victory of German weapons, and he could not then think about the glory of the enemy, pride in his people helped him: “So that I, a Russian soldier, should drink for the victory of German weapons ?! Is there anything you don't want, Herr Kommandant? One hell, I’m dying, so you’ll go to hell with your vodka. ” Having drunk then for his death, Andrei bites a piece of bread, half of which he leaves whole: “I wanted to show them, the damned, that although I’m dying of hunger, I’m not going to choke on their sop, that I have my own, Russian dignity and pride and that they didn't turn me into a beast, no matter how hard they tried" 11 - this is what the hero's primordially Russian soul says. A moral choice has been made: the fascists have been challenged. A moral victory has been won.

Despite his thirst, Andrey refuses to drink "for the victory of German weapons", does not drink the "black milk" of humiliation and keeps his honor unsullied in this unequal fight, earning the respect of the enemy: "... You are a real Russian soldier, You are a brave soldier" 12, - says the commandant to Andrei, admiring him. Our hero is the bearer of national character traits - patriotism, humanity, fortitude, stamina and courage. There were many such heroes during the war years, and each of them performed his duty, which means a feat of life.

The words of the great Russian writer are true: “The Russian people in their history have selected, preserved, elevated to a degree of respect such human qualities that are not subject to revision: honesty, diligence, conscientiousness, kindness ... We know how to live. Remember this. Be human". 1

The same human qualities are shown in Kondratyev's work "Sashka" 13 . In this story, events, as in "The Fate of a Man", take place in war time. The main character is a soldier Sasha - and really a hero. Not the last qualities for him are mercy, kindness, courage. Sashka understands that in battle a German is an enemy and very dangerous, but in captivity he is a man, an unarmed man, an ordinary soldier. The hero deeply sympathizes with the prisoner, wants to help him: “If it wasn’t for shelling, they would have turned the German on his back, maybe the blood would stop ...” 14 Sashka is very proud of his Russian character, he believes that this is how a soldier should act, Man. He opposes himself to the Nazis, rejoices for his homeland and the Russian people: “We are not you. We don't shoot prisoners." He is sure that a man is a man everywhere, he must always remain one: "... Russian people do not mock prisoners" 15 . Sasha cannot understand how one person can be free over the fate of another, how one can manage someone else's life. He knows that no one has the Human right to do this, that he will not allow himself such a thing. Invaluable in Sasha is his great sense of responsibility, even for what he should not be responsible for. Feeling that strange feeling of power over others, the right to decide whether to live or die, the hero involuntarily shudders: “Sashka even somehow felt uneasy ... he’s not the kind to mock the prisoners and the unarmed” 16 .

There, in the war, he understood the meaning of the word "must". “We must, Sasha. You understand, it’s necessary,” the company commander told him, “before ordering something, and Sashka understood that it was necessary, and did everything that was ordered, as it should” 17. The hero is attractive because he does more than necessary: ​​something indestructible in him makes him do it. He does not kill a prisoner on command; wounded, he returns to surrender his machine gun and say goodbye to his brother soldiers; he himself escorts the orderlies to the seriously wounded, in order to know that that person is alive and saved. Sasha feels this need in himself. Or is it the conscience? But after all, a different conscience may not command - and confidently prove that it is clean. But there are no two consciences, "conscience" and "another conscience": conscience either exists or it does not exist, just as there are no two "patriotisms". Sashka believed that a person, and especially he, a Russian, must in any situation preserve his honor and dignity, which means remaining a merciful person, honest with himself, fair, true to his word. He lives according to the law: he was born a man, so be real inside, and not an outer shell, under which there is darkness and emptiness ...

III. Questioning.

I have tried to identify important moral values for 10th grade students. For research, I took questionnaires from the Internet (the author is unknown). Conducted a survey in the 10th grade, 15 students participated in the survey.

Mathematical-statistical processing of results.

1. What is morality?
2. What is a moral choice?
3. Do you have to cheat in life?
4. Do you help when asked to?
5. Will you come to the rescue at any moment?
6. Is it good to be alone?
7. Do you know the origin of your last name?
8. Does your family have photos?
9. Do you have family heirlooms?
10. Are letters and postcards kept in the family?

The survey I conducted showed that moral values ​​are important for many children.

Conclusion:

Since ancient times, valor, pride, mercy in man have been revered. And since then, the elders passed on their instructions to the young, warned against mistakes and dire consequences. Yes, how much time has passed since then, and moral values ​​do not become obsolete, they live in every person. Ever since those times, a person was considered a Man if he could educate himself and possessed such qualities: pride, honor, good nature, firmness. “Do not kill either the right or the guilty, and do not order him to be killed,” 18 teaches us Vladimir Monomakh. The main thing is that a person should be worthy of his life in front of him. Only then will he be able to change something in his country, around him. Many misfortunes and misfortunes can happen, but Russian literature teaches us to be strong and keep “our word, for if you break your oath, destroy your soul” 1, it teaches us not to forget about our brothers, to love them like relatives, to respect each other. And most importantly, remember that you are a Russian person, that you have the strength of heroes, mothers-nurses, the strength of Russia. Andrei Sokolov did not forget about this in captivity, he did not turn either himself or his homeland into a laughing stock, he did not want to give up HIS Russia, his children Senya from Rasputin's story, for desecration.

We see what a person, a son and a protector should be, using the example of Prince Daniel, he gave everything so that his homeland, country, people would not die, they would survive. He also agreed to the condemnation that awaited him after accepting the faith of the Tatars, he fulfilled his duty, and it is not for us to judge him.

Bazarov, the hero of the novel by I.S. Turgenev, also difficult ahead life path. And each of us has our own road, which we must certainly go out on, and everyone goes out on it, only someone realizes too late that he is walking along it in the other direction ...

IV. Conclusion.

A person always faces a moral choice. A moral choice is a decision consciously made by a person, it is the answer to the question “What to do?”: pass by or help, deceive or tell the truth, succumb to temptation or resist. When making a moral choice, a person is guided by morality, own ideas about life. Honor, dignity, conscience, pride, mutual understanding, mutual assistance - these are the qualities that have helped the Russian people at all times to defend their land from enemies. Centuries pass, life in society changes, society changes, and man also changes. And now our modern literature is sounding the alarm: the generation is sick, sick with unbelief, godlessness... But Russia exists! And that means there is a Russian person. There are those among today's youth who will revive the faith, return moral values ​​to their generation. And our past will be a support and help in all situations, it is on it that we need to learn, going to the future.

I did not want the work to be an essay, read and forgotten. If, after reading my reflections and "discoveries", at least someone thinks about the meaning of this work, about the purpose of my actions, about questions and calls to us - to modern society- it means that she didn’t try in vain, it means that this work will not become a “dead” weight, it will not gather dust around somewhere in a folder on a shelf. It is in the mind, in the mind. Research work is, first of all, your attitude to everything, and only you can develop it and give impetus to further transformations, first in yourself, and then, perhaps, in others. I gave this impetus, now it's up to each of us.

Write similar work- half the battle, but to prove that it is really important and necessary, to make it reach the minds and strike like a bolt from the blue, delight, like a problem solved at an unexpected moment - this is much more difficult to do.

V. Literature.

1. M. Sholokhov, "The Fate of a Man", story, Upper Volga Book Publishing House, Yaroslavl, 1979
2. V. Kondratiev, "Sashka", story, ed. "Enlightenment", 1985, Moscow.
3. "Stories of Russian chronicles", ed. Center "Vityaz", 1993, Moscow.
4. I. S. Turgenev "Mumu", ed. "AST", 1999, Nazran.
5. IN AND. Dal "Proverbs and sayings of the Russian people", ed. "Eksmo", 2009
6. I.S. Turgenev "On the eve", ed. "AST", 1999, Nazran
7. I.S. Turgenev "Fathers and Sons", ed. Alfa-M, 2003, Moscow.
8. V.S. Apalkov "History of the Fatherland", ed. Alfa-M, 2004, Moscow.
9. A.V. Century "History of Russia from ancient times to the present day", ed. "Modern Writer", 2003, Minsk.
10. N.S. Borisov "History of Russia", ed. ROSMEN-PRESS, 2004, Moscow.
11. I.A. Isaev "History of the Fatherland", ed. "Jurist", 2000, Moscow.
12. IN AND. Dal "Proverbs and sayings of the Russian people", ed. "Eksmo", 2009
13. "Stories of Russian chronicles", ed. Center "Vityaz", 1993, Moscow.
14. I.S. Turgenev "Mumu", ed. "AST", 1999, Nazran. The story "Mumu" was written in 1852. First published in the Sovremennik magazine in 1854.
15. I.S. Turgenev "On the eve", ed. "AST", 1999, Nazran. The novel "On the Eve" was written in 1859. In 1860 the work was published.
16. I. S. Turgenev "On the eve", ed. "AST", 1999, Nazran
17. I. S. Turgenev "Tales, stories, poems in prose, criticism and comments", ed. "AST", 2010, Syzran
18. I.S. Turgenev "Fathers and Sons", ed. Alfa-M, 2003, Moscow. The work "Fathers and Sons" was written in 1961, and published in 1862 in the journal "Russian Messenger".
19. I. S. Turgenev "Tales, stories, poems in prose, criticism and comments", ed. "AST", 2010, Syzran.
20. M.A. Sholokhov "The Fate of a Man", story, Upper Volga Book Publishing House, Yaroslavl, 1979
21. M.A. Sholokhov "The Fate of a Man", story, Upper Volga Book Publishing House, Yaroslavl, 1979
22. M.A. Sholokhov "The Fate of a Man", story, Upper Volga Book Publishing House, Yaroslavl, 1979
23. M.A. Sholokhov "The Fate of a Man", story, Upper Volga Book Publishing House, Yaroslavl, 1979
24. The story was published in 1979 in the journal Friendship of Peoples.
25. V.L. Kondratiev "Sashka", story, ed. "Enlightenment", 1985, Moscow.
26. V.L. Kondratiev "Sashka", story, ed. "Enlightenment", 1985, Moscow
27. V.L. Kondratiev "Sashka", story, ed. "Enlightenment", 1985, Moscow
28. V.L. Kondratiev "Sashka", story, ed. "Enlightenment", 1985, Moscow
29. "Teachings of Vladimir Monomakh" - literary monument XII century, written by the Grand Duke of Kyiv Vladimir Monomakh.

As an art form fiction reveals many moral, spiritual and social problems individual and society as a whole. This is both the main landmark of literature and its moral core always in the spotlight.

Moral problems of literature

It is possible to single out those moral problems that literature focuses on most often. Everyone knows about the eternity of the question of good and evil, about the question human dignity and about conscience, the fiction of all times and peoples raises the issue of justice, honor and virtue.

There is always a problem life choice, which is not easy for literary heroes - just like people in real life. The moral quest of this or that nation is always displayed in the literature of a certain nation, and therefore the ideals of a person can be revealed from completely different moral sides.

Whatever time period literature belongs to, it is always saturated with the solution of problems of a moral nature. And the problem of any nature - social or psychological - is considered from this side. The moral quests of the main characters reflect the main moral problems of a particular period.

The hero of a work of art, his character, actions

The most common definition of a hero artwork sounds like "a spokesman for the plot action." And it is through the hero that the key content is revealed literary work, since his character, his choices and actions testify to what side of morality the author wants to show us.

Revealing and drawing our attention to the features of character literary hero, the author shows the main idea of ​​the work, and emphasizes a certain theme, of which there may be several in the work. Thus, the main lessons of morality that the author laid down in his creation become clear to us; using the example of the hero, we are better aware of them.

Techniques for creating character in epic, lyric and drama

The manner in which the personality and character of the protagonist in a work is revealed depends on the genre. In the epic, a person is portrayed to a greater extent through his actions and behavior. In this genre, the characterization of the hero by the author himself is also appropriate. For drama, this is not so typical, the drama reveals the character through the actions and speech of the hero, through his differences from other people.

In this, it is very different from the epic, which forms the character in a completely different way. In the center of the drama there can be only one problem, which reveals the moral bottom of the hero. And his choice speaks for itself, it is one specific act or decision that will show true character main character.

And in the lyrics of the hero, it is most often shown through feelings and experiences, through filling his inner world. Understanding what exactly the hero is experiencing, what emotions he shows, the reader realizes his true nature and recognizes his real face.

Genre originality Russian literature of the second half of the 20th century.

Historical novel(Alexey Tolstoy "Peter 1")

Russian autobiographical prose XX century is associated with tradition domestic literature past, primarily with the artistic experience of L. Tolstoy

Some of Astafiev's books are based on childhood memories. What unites them is the utmost sincerity of the authors, confession. In Astafyev's stories of the 1960s and 1970s, the main character was a boy, a teenager. This applies to Ilka from "Pass", and to Tolya Mazov from "Theft", to Vitka from " Last bow". What these heroes have in common is their early orphanhood, a collision with material difficulties in childhood, increased vulnerability and exceptional responsiveness to everything good and beautiful.

Village prose dates back to the 1950s. At its origins are the essays by V. Ovechkin (“Regional weekdays”, “Difficult weight on”). As a trend in literature village prose formed during the thaw period and existed for about three decades. She resorted to different genres: essays (V. Ovechkin, E. Dorosh), stories (A. Yashin, V. Tendryakov, G. Troepolsky, V. Shukshin), news and novels (F. Abramov, B. Mozhaev, V. Astafiev, V. Belov, V. Rasputin).

The emergence of song lyrics during the war.

The song "Holy War" is the most important role in the history of the war. In fact, it replaced the Russian anthem. Almost the entire song consists of calls addressed to a person. Rhythm - march. The goal is to instill faith in people.

Mikhail Isakovsky.

His works are characterized by lyricism - he is interested in the inner world of a person in war.

“In the forest near the front” - the poem begins with the complete merging of man with nature. Autumn waltz unites people with different corners planets - the motive of unity. They are united by memories of a peaceful life. The defense of the Motherland is associated with the protection of the beloved woman.

"And everyone knew: the road to it lies through the war."

The development of journalism. The emergence of journalistic stories and essays.

Themes, ideas, problems of Russian literature of the second half of the 20th century.

Soviet literature appeared after 1917 and acquired a multinational character.

1.Military theme.

Two trends in the depiction of war: large-scale works of an epic nature; the writer is interested in a specific person, psychological and philosophical character the origins of heroism.

2. The theme of the village. (Shukshin) - Solzhenitsyn's story " Matrenin yard”, tells us about the consequences of this terrible experiment for the Russian village.

Village of the war and post-war years. Writers feel the imminent death of the village. moral degradation.

Village prose dates back to the 1950s. At its origins are the essays by V. Ovechkin (“Regional weekdays”, “Difficult weight on”). As a trend in literature, rural prose developed during the thaw period and lasted for about three decades. She resorted to different genres: essays (V. Ovechkin, E. Dorosh), short stories (A. Yashin, V. Tendryakov, G. Troepolsky, V. Shukshin), news and novels (F. Abramov, B. Mozhaev, V. Astafiev, V. Belov, V. Rasputin). The cultural level of the villagers was of particular concern. Writers focused society's attention on the formation of a purely consumer attitude to life in the younger generation, on the lack of craving for knowledge and respect for work.

3. Moral and ethical and philosophical theme(The problem of alcoholism as a way to escape reality)

4. The problem of man and nature (Astafiev)

5. The problem of social life (Trifonov)

6. "Returned Literature" ("Doctor Zhivago")

7. Stalinist literature (Solzhenitsyn "The Gulag Archipelago")

8. Postmodernism is a reaction to people's discontent.

"Other literature" 60-80s (A. Bitov, S. Skolov, V, Erofeev, L. Petrushevskaya)

Another representative of this trend, Viktor Erofeev, explains the use of parody as a form of protest against our not only insufficient, but absolutely incorrect idea of ​​a person.

3) Genre originality of the literature of the war years.
The most productive genres of prose in the first two war years were articles, essays, and stories. Almost all writers paid tribute to them: A. Tolstoy, A. Platonov, L. Leonov, I. Ehrenburg, M. Sholokhov and others. They asserted the inevitability of victory, brought up a sense of patriotism, exposed fascist ideology.
A.N. Tolstoy owns more than sixty articles and essays created during the period 1941-1944. (“What We Defend”, “Motherland”, “Russian Warriors”, “Blitzkrieg”, “Why Hitler Must Be Defeated”, etc.). Turning to the history of the Motherland, he sought to convince his contemporaries that Russia would cope with a new misfortune, as it had happened more than once in the past. "Nothing, we'll do it!" - such is the leitmotif of A. Tolstoy's journalism.
L. Leonov also constantly turned to national history. He spoke with particular poignancy about the responsibility of every citizen, for only in this he saw the guarantee of the coming victory (“Glory to Russia”, “Your brother Volodya Kurylenko”, “Rage”, Reprisal”, “To an unknown American friend”, etc.).
The central theme of I. Ehrenburg's military journalism is the protection of universal values. He saw fascism as a threat to world civilization and emphasized that representatives of all nationalities of the USSR were fighting against it (articles “Kazakhs”, “Jews”, “Uzbeks”, “Caucasus”, etc.). The style of Ehrenburg's journalism was distinguished by the sharpness of colors, the suddenness of transitions, and metaphor. At the same time, the writer skillfully combined documentary materials, a verbal poster, a pamphlet, and a caricature in his works. Ehrenburg's essays and journalistic articles were compiled in the collection "War" (1942-1944).
The military essay has become a kind of chronicle of the war. Readers at the front and in the rear eagerly waited for news and received it from writers.
K. Simonov, in hot pursuit, wrote a number of essays about Stalingrad. He owns a description of military operations, portrait travel sketches.
Stalingrad became main theme and essay writing by V. Grossman. In July 1941, he was enrolled in the staff of the Krasnaya Zvezda newspaper and already in August went to the front. Grossman kept records throughout the war. His harsh, devoid of pathos, Stalingrad essays became the pinnacle of the development of this genre during the war years (The Direction of the Main Strike, 1942, etc.).
Journalism has also influenced fiction. Since most of the stories, short stories, and a few novels of those years were built on a documentary basis, the authors most often avoided the psychological characteristics of the characters, described specific episodes, and often retained the names of real people. Thus, in the days of the war, a certain hybrid form of essay-story appeared. This type of works includes the stories “The Honor of the Commander” by K. Simonov, “The Science of Hatred” by M. Sholokhov, the collections “Stories of Ivan Sudarev” by A. Tolstoy and “Sea Soul” by L. Sobolev.
And yet, among the prose writers of the war years, there was a writer who, in this harsh time, created artistic prose so bright and unusual that it is worth special mention about him. This is Andrey Platonov.
He wrote the first story about the war before the front, in evacuation. Refusing to work at the Military Publishing House, Platonov became a front-line correspondent. His notebooks and letters allow us to conclude that any fantasy is poorer than that terrible truth life that opens up in war.
It is impossible to understand Platonov's prose, ignoring his understanding of the war and the writer's creative tasks: “Depicting what is, in essence, killed is not just bodies. great picture life and lost souls, opportunities. Peace is given, as it would be with the activities of the dead, a better peace than the real one: that's what perishes in war - the possibility of progress is killed.
Interesting stories created during the war years K. Paustovsky,
A. Dovzhenko. Many writers gravitated toward the form of a cycle of short stories (“Sea Soul” by L. Sobolev, “Sevastopol Stone” by L. Solovyov, etc.).
Already in 1942, the first stories began to appear. The writers referred to specific cases that took place during the defense of Moscow, Stalingrad, and other cities and villages. This made it possible to depict specific people in close-up - participants in the battles, defenders of their home.
One of the most successful books of the period of the war is the story of V. Grossman "The people are immortal" (1942). The plot was based on concrete facts. The story included a picture of the death of Gomel that shocked Grossman in August 1941. The author's observations, depicting the fate of the people met on the military roads, brought the story closer to the truth of life.
Behind the events of the war, Grossman, who sought to create heroic epic, I saw a clash of ideas, philosophical concepts, the truth of which is determined by life itself.
For example, describing the death of Maria Timofeevna, who did not have time to leave the village before the arrival of enemies, the writer gives us the opportunity to experience the last moments of her life with her. Here she sees how the enemies inspect the house, joking with each other. “And again, Maria Timofeevna understood with her instinct, sharpened to holy insight, what the soldiers were talking about. It was a simple soldier's joke about the good food they got. And the old woman shuddered, suddenly realizing the terrible indifference that the Nazis felt for her. They were not interested, did not touch, did not care about the great misfortune of a seventy-year-old woman, ready to accept death. It was just that the old woman stood in front of bread, bacon, towels, linen, but she was hungry and thirsty. She did not arouse hatred in them, for she was not dangerous to them. They looked at her the way they look at a cat, a calf. She stood in front of them, an unnecessary old woman, for some reason existing in the space vital for the Germans.
And then they "crossed a puddle of black blood, sharing towels and taking out other things." Grossman omits the scene of the murder: he does not tend to talk in detail about such things, to paint death.
What is happening is full of genuine tragedy. But this is not the tragedy of torn flesh, but the “tragedy of ideas”, when an old woman is ready to accept inevitable death with dignity. She is humiliated not only by the very presence of the enemy on native land but also its relation to man. The Nazis fought against a whole people, and the people, as history has proven, as V. Grossman proved in his story, is really immortal.

I was, I lived.
For everything in the world
I answer with my head.
A. Tvardovsky
The problems Man and Earth, Good and Evil are among the most ancient and eternal problems in literature. From the first poetic experiences primitive man a strong and stable thread of artistic knowledge of a person of the world around him and his place in it stretches to modern philosophical and refined poetry. Literature has always adequately expressed its high mission to be at the forefront of the struggle for the hearts and minds of people, contributed to the formation of civic activity, the establishment of high moral ideals and norms, feelings of patriotism and internationalism. The problems are innumerable, but the main one is one: concern for the formation of the human soul.
The writers who constantly solve these problems include V. Rasputin, S. Zalygin, V. Astafiev, G. Troepolsky, V. Belov, V. Shukshin and many others.
In V. Rasputin's story "Farewell to Matera" we see the clash of life and death. The death of Matera - the work of man - makes us think about the eternal, but the problems that have arisen today with particular acuteness: the moral right of a person to dispose of nature. Matera is preparing for its end, and at the same time, “the island continued to live its usual and predetermined life: bread and grass rose, roots pulled out in the ground and leaves grew on trees, there was a smell of withered bird cherry and the damp heat of greenery ...” And in this In a painful contradiction, a person is looking for answers to the main questions of life: “Daria tries and cannot raise a heavy, overwhelming thought: maybe that’s how it should be?” “Won’t the rest of the earth bake, looking at Matera?” “Will one (ancestors) ask me?” They will ask: “How did you allow such impudence, where did you look?” In Daria, Rasputin reveals a strong character full of dignity and greatness. And Daria sees her last duty in "seeing off Matera in her own way, in her own way." Unforgettable are the pages about how she cleaned and whitewashed her hut, decorated it with fir branches, dressed it up before her death, and in the morning she told the arsonists: “That's it. Light it up. But so that not a foot in the hut ... "" Whoever has no memory, he has no life," thinks Daria. We see Daria not only in her farewell to Matera, with her life leaving with Matera, but also in intense reflections about the past and future, about the meaning of life and the purpose of a person. In such moments that Daria is experiencing, she is born and filled with beauty and kindness. human soul! The writer makes us take a closer look at the spiritual values ​​of such wise people like Daria. Daria's heart is filled with anxiety, the pain of separation. But she finds strength in herself and does not allow to accept help. Daria - amazing person. She constantly thinks about what we live for, about the Motherland, about the meaning of human life.
The story of the human soul and the soul of the people with special tension, I think, sounds in the story “Live and Remember”. main character story, Nastena, must endure not only the common suffering with all - the war, but also her terrible secret: a deserter husband is hiding not far from his native Atamanovka. Nastena sincerely believes that since her husband committed such a shameful act, it means that she mentally protected him badly, which means that her care was not enough. She is ready to endure any punishment of people, but not that endlessly lasting deceit that destroys both Andrei and her. Rasputin shows how suffering grows in Nastena's soul, how unbearable it becomes on Victory Day, when great joy unites people as much as yesterday united great grief.
The more wild, Andrey becomes furious, the closer the birth of a child, so expected and so impossible now, the stronger Nastya's despair. Nastena goes into the waves of the Angara with her unborn child, in death seeking not just oblivion and an end to suffering, but purification before people, before the eternal truth of life. The character of Nastena is strong, ready for self-sacrifice, responsibility.
Showing the terrible evil of betrayal, the evil that destroys everything around him like radiation, the writer passed over in silence the end of Andrei. He is not worthy of death, causing sympathy or at least somehow reconciling with him, he finds himself outside of life, outside the memory of people. Leaving Guskov alive, the author stigmatizes him with a terrible curse: "Live and remember." And it is no coincidence that V. Astafiev said: “Live and remember, man: in trouble, in the torment, in the most difficult days of trials, your place is next to your people; any apostasy, caused by your weakness, or foolishness, turns into even greater grief for your Motherland and people, and therefore for you.

Literary reading

Topic: Moral problems in the works of Russian writers
Goals: Understanding the problem of morality.

Evaluate the actions and relationships between loved ones.

Form an idea of ​​the personality of the characters.
Tasks:

1. Shape:

• 
  idea of ​​goodness, kindness, good, kind deeds;
• 
  the ability to correctly evaluate oneself and others, to teach to see positive traits people, heroes, characters.

2. Develop oral speech, the ability to express your thoughts clearly.

3. Learn to analyze literary texts.

4. To educate in children such personality traits as kindness, generosity, responsiveness;

Lesson script:

1. 
   Org. Moment
2. 
   Psychological attitude
3. 
   Cryptographer
4. 
   Introduction to the topic of the lesson and goal setting

- What is the common theme of the words: kindness, mercy, generosity, compassion?

Let's turn to the dictionary for the interpretation of the word - morality. I am definitely a moral person.” It turns out that there are certain problems with spiritual and spiritual qualities many people. That's what our lesson today is about.

What is the topic of our lesson?

Moral problems in the works of Russian writers.

What goals do we set for ourselves?

5. "Tree of predictions"

In order for our lesson to be successful, what can you suggest for today's work.

Pay attention to our tree and evaluate your mood for work in the leaflet.

6. Work on the topic of the lesson

Today at our lesson “Virtual guest. This - Vasily Alexandrovich Sukhomlinsky. Sincere love for children, romantic aspirations of the personality, passion and conviction distinguished the outstanding teacher Vasily Aleksandrovich Sukhomlinsky. A wonderful teacher - an innovator, a passionate publicist, first of all, he cared about the problems of children and adolescents. In two decades, he published 35 books and hundreds of scientific articles- reflections. We have already studied his stories - parables this fall. ("I want to have my say"). He's up last day remained the director of the Pavlysh school, an ordinary rural school where ordinary village children studied.

Today we will get acquainted with another story - the parable "The Birthday Dinner". Before you anticipate what this story is about, let's find out what a parable is. (" Parable- this is a small instructive story in literary genre, which contains a moral or religious teaching (wisdom). Close to fable. In the parable there is no depiction of characters, indications of the place and time of action, showing phenomena in development: its purpose is not to depict events, but to report on them.

What do you think this parable is about? (children's answers)

Let's read and clarify your assumptions.

(Reading by teacher with interruption)

Evaluation after the initial audition

Uncomfortable - embarrassing.

Do not believe your eyes - very surprised.

No good - very bad

Grab your head - be horrified, in despair

Whatever - no matter

So-so - neither bad nor good

Choose and point to the chosen phraseological unit.

Remember your choice, it will be useful to us in summing up.

7. Radio play

Now let's read the text by roles in groups. You are 4 people: 2 authors, mother and Nina. 1 author reads to the words: Nina's birthday is coming soon.

Let's listen to the second part of the story with the words "Guests have come ..."

8. "Six Hats"

And now let's start the discussion. 6 hats will help us with this.

Hats are on your desks, you know what to do. Let's repeat the algorithm of work in groups. We got to work.

We listen to the answers of the speakers. Additions only after the performance of the leaders.

Let's return to phraseological units, have your opinions changed, evaluating Nina's act?

Define Nina's act in one word. (betrayal)

9. Results of the work

- Diagnostics

- Put + - yes, - if no.

- A mark on the tree of predictions.

10. Estimate on the itinerary

11. Homework