The inner world of the personality and its relationship with various aspects of reality according to Y. Trifonov "Exchange"

1. Life and creative way Trifonova.

The complexity of the fate of the writer and his generation, the talent for the embodiment of spiritual quests, the originality of manner - all this predetermines attention to life path Trifonova.

The writer's parents were professional revolutionaries. Father, Valentin Andreevich, joined the party in 1904, was exiled to administrative exile in Siberia, and went through hard labor. Later became a member of the Military Revolutionary Committee in October 1917. In 1923–1925. Headed the Military Collegium of the Supreme Court of the USSR.

In the 1930s, my father and mother were repressed. In 1965, Y. Trifonov's documentary book "The Reflection of the Fire" appeared, in which he used his father's archive. From the pages of the work rises the image of a man who "kindled a fire and himself died in this flame." In the novel, Trifonov was first used as a kind of artistic technique principle of timing.

History will disturb Trifonov constantly ("The Old Man", "The House on the Embankment"). The writer realized his philosophical principle: “We must remember - here is hidden the only possibility of competition with time. Man is doomed, time triumphs.

During the war, Yuri Trifonov was evacuated to Central Asia, worked at an aircraft factory in Moscow. In 1944 he entered the Literary Institute. Gorky.

The memoirs of his contemporaries help to visibly present the writer: “He was over forty. A clumsy, slightly baggy figure, short black hair, in some places in barely visible lamb curls, with rare threads of gray hair, an open wrinkled forehead. From a wide, slightly swollen pale face, through heavy horn-rimmed glasses, intelligent gray eyes looked at me shyly and unprotectedly.

The first story "Students" - graduate work budding prose writer. The story was published by the magazine New world» A. Tvardovsky in 1950, and in 1951 the author received the Stalin Prize for it.

It is generally accepted that the main theme of the writer is everyday life, being dragged into everyday life. One of the well-known researchers of Trifonov’s work, N. B. Ivanova, writes: “At the first reading of Trifonov, there is a deceptive ease of perception of his prose, immersion in familiar situations close to us, collisions with people and phenomena known in life ...” This is true, but only when reading superficially.

Trifonov himself claimed: “Yes, I do not write life, but life.”

Critic Yu. M. Oklyansky rightly asserts: “The test of everyday life, the imperious force of everyday circumstances and the hero, one way or another romantically opposing them ... is a through and title theme of the late Trifonov ...”.

2. Problems of the story by Y. Trifonov "Exchange".

1) - Remember the plot of the work.

The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha - a teenager - behind the curtain. Dmitriev's dream of moving in with his mother did not find support from Lena, his wife. Everything changed when the mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in the solution of this everyday issue, which ended in a successful exchange, and soon the death of Ksenia Feodorovna, constitute the content of a short story.

- So, the exchange is the plot core of the story, but can we say that it is also a metaphor that the author uses?

2) Main character The story is a representative of the third generation of the Dmitrievs.

Grandfather Fyodor Nikolaevich is intelligent, principled, humane.

What can you say about the hero's mother?

Find the characteristic in the text:

“Ksenia Fedorovna is loved by friends, respected by colleagues, appreciated by neighbors in the apartment and in the pavlinovskaya dacha, because she is friendly, compliant, ready to help and take part ...”

But Viktor Georgievich Dmitriev falls under the influence of his wife, "gets sloppy." The essence of the title of the story, its pathos, author's position, as it follows from the artistic logic of the story, are revealed in the dialogue between Xenia Fyodorovna and her son about the exchange: “I really wanted to live with you and Natasha ... - Ksenia Fyodorovna paused. “But now, no.” “Why?” – “You have already exchanged, Vitya. The exchange has taken place."

– What is the meaning of these words?

3) What makes up the image of the main character?

Description of the image based on the text.

- How does the emerging conflict with your wife over the exchange end? (“...He lay down in his place against the wall and turned to face the wallpaper.”)

- What does this pose of Dmitriev express? (This is a desire to get away from the conflict, humility, non-resistance, although in words he did not agree with Lena.)

- And here is another subtle psychological sketch: Dmitriev, falling asleep, feels his wife’s hand on his shoulder, which at first “lightly strokes his shoulder”, and then presses “with considerable weight”.

The hero realizes that his wife's hand is inviting him to turn around. He resists (this is how the author depicts the internal struggle in detail). But ... "Dmitriev, without saying a word, turned on his left side."

- What other details indicate the subordination of the hero to his wife, when we understand that he is a follower? (In the morning, the wife reminded her to talk to her mother.

“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)

This detail - "two steps forward" - "two steps back" - is a clear evidence of the impossibility for Dmitriev to go beyond the limits imposed on him by external circumstances.

- Whose rating does the hero get? (We learn his assessment from his mother, from his grandfather: “You are not a bad person. But not amazing either.”)

4) The right to be called a person Dmitriev was denied by his relatives. Lena was denied by the author: “... she bit into her desires like a bulldog. Such a pretty bulldog woman ... She did not let go until the desires - right in her teeth - did not turn into flesh ... "

Oxymoron* cute female bulldog further emphasizes the negative attitude of the author to the heroine.

Yes, Trifonov clearly defined his position. This is contradicted by the statement of N. Ivanova: "Trifonov did not set himself the task of either condemning or rewarding his heroes: the task was different - to understand." This is partly true...

It seems that another remark of the same literary critic: “...behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, - Trifonov's poetics. And - an attempt at social aesthetic education.

- What is your attitude to the Dmitriev family?

– Would you like life to be like this in your families? (Trifonov managed to draw a typical picture family relations of our time: the feminization of the family, the transition of the initiative into the hands of predators, the triumph of consumerism, the lack of unity in the upbringing of children, the loss of traditional family values. The desire for peace as the only joy makes men put up with their minority in the family. They lose their solid masculinity. The family is left without a head.)

III. Summary of the lesson.

– What questions did the author of the story “The Exchange” make you think about?

– Do you agree that B. Pankin, speaking about this story, calls a genre that combines a physiological sketch of modern urban life and a parable?

Homework.

“The exchange saw the light in 1969. At that time, the author was criticized for reproducing "a terrible mud of trifles", for the fact that in his work "there is no enlightening truth", for the fact that in Trifonov's stories spiritual dead men roam, pretending to be alive. There are no ideals, man has been crushed and humiliated, crushed by life and his own insignificance.

- Express your attitude to these assessments by answering the questions:

џ What comes to the fore in the story when we perceive it now?

џ Does Trifonov really have no ideals?

џ In your opinion, will this story remain in literature and how will it be perceived in another 40 years?

Lessons 81-82
The life and work of Alexander Trifonovich
Tvardovsky. The originality of the lyrics

Goals: consider the features of the lyrics of the largest epic poet of the twentieth century, noting the sincerity of the confessional intonation of the poet; to study traditions and innovation in Tvardovsky's poetry; develop the skills of analyzing a poetic text.

Course of lessons

It is impossible to understand and appreciate Tvardovsky's poetry without feeling to what extent all of it, to its very depths, is lyrical. And at the same time, it is wide, wide open to the world around and everything that this world is rich in - feelings, thoughts, nature, life, politics.

S. Ya. Marshak. For life on earth. 1961

Tvardovsky, as a person and an artist, never forgot about his fellow citizens ... he was never a poet only “for himself” and “to himself”, he always felt his debt to them; he would only take up a pen if he believed that he could say the most important thing about life, that which he knew better, more detailed, and more reliably than anyone else.

V. Dementiev. Alexander Tvardovsky. 1976

And I'm just a mortal. For your own in the answer,

I'm worried about one thing in life:

About what I know best in the world,

I want to say. And the way I want.

A. T. Tvardovsky

At the heart of Yuri Trifonov's story "Exchange" is the desire of the protagonist, a typical Moscow intellectual Viktor Georgievich Dmitriev, to make an exchange of housing, to improve his own housing situation. For this, he needs to settle with a hopelessly ill mother, who is aware of her imminent death. The son convinces her that he is terribly eager to live with her in order to take better care of her. However, the mother realizes that he is primarily concerned not with her, but with the apartment, and that he is in a hurry with the exchange because of fear.

After her death, lose her room. Material interest replaced Dmitriev's feeling of filial love. And it’s not for nothing that at the end of the work the mother declares to her son that she was once going to live together with him, but not now, because: “You have already exchanged, Vitya. The exchange has taken place ... It was a very long time ago. And it always happens, every day, so don't be surprised, Vitya. And don't get angry. It's just so imperceptible.." Dmitriev, a decent man from the start, little by little, under the influence of his wife's selfishness, and his own personal egoism, changed his moral positions to philistine well-being. And yet, having managed to move in with his mother right before her death, her death, perhaps a little caused by a hasty exchange, is depressing: "After the death of Ksenia Fedorovna, Dmitriev had a hypertensive crisis, and he lay at home for three weeks in strict bed rest" . Then he strongly passed and seemed as if "not yet an old man, but already elderly." What is the reason for Dmitriev's ethical fall?

In the story, his grandfather is presented to us as an old revolutionary, who tells Victor "You are not a bad person. But not amazing either." Dmitriev has no lofty idea that inspires his life, there is no passion for any business. No, what turns out to be this case very important, and willpower. Dmitriev cannot resist the pressure of his wife Lena, who is striving to obtain life's blessings at any cost. At times he protests, makes scandals, but only to clear his conscience, because almost always, in the end, he capitulates and does as Lena wants. Dmitriev's wife has long prioritized her own prosperity. And she knows that her husband will be an obedient tool in achieving her goals: "... She spoke as if everything was predetermined and as if it was clear to him, Dmitriev, that everything was predetermined, and they understand each other without words." Regarding people like Lena, Trifonov said in an interview with critic A. Bocharov: "Egoism is in humanity that it is most difficult to defeat." And at the same time, the writer is far from sure whether it is possible in principle to completely defeat human egoism, or whether it would not be more reasonable to try to introduce it into some kind of moral limits, to set certain boundaries for it. For example, such: the desire of each person to satisfy their own needs is legitimate and fair as long as it does not harm other people. After all, egoism is one of the most powerful factors in the development of man and society, and this cannot be ignored. Let us recall that Nikolai Gavrilovich Chernyshevsky wrote about "reasonable egoism" with sympathy and almost as an ideal of behavior in his novel What Is To Be Done? The trouble, however, is that it is very difficult to real life find the line that separates "reasonable egoism" from "unreasonable". Trifonov emphasized in the interview mentioned above: "Egoism disappears wherever an idea arises." Dmitriev and Lena do not have such an idea, so selfishness becomes their only moral value. But those who oppose them do not have this idea either - Ksenia Fedorovna, Victor Laura's sister, cousin the protagonist Marina ... And it is no coincidence that in a conversation with another critic, L. Anninsky, the writer objected to him: "You pretended that I idolize the Dmitrievs (meaning all representatives of this family, except for Viktor Georgievich) idolize, and I sneer at them" . The Dmitrievs, unlike the Lena family, the Lukyanovs, are not very adapted to life, they do not know how to benefit for themselves either at work or at home. They do not know how and do not want to live at the expense of others. However, Dmitriev's mother and his relatives are by no means ideal people. They are characterized by one very disturbing vice of Trifonov - intolerance (it is no coincidence that this is how the writer called his novel about the People's Will Zhelyabov - "Intolerance").

Ksenia Fedorovna calls Lena a bourgeois, and she calls her a hypocrite. In fact, Dmitriev's mother is hardly fair to consider a hypocrite, but the inability to accept and understand people with different behavioral attitudes makes her difficult to communicate, and this type of people is not viable in the long run. Dmitriev's grandfather was still inspired by the revolutionary idea. For subsequent generations, it has greatly faded due to comparison with the post-revolutionary reality, which is very far from ideal. And Trifonov understands that in the late 60s, when "Exchange" was written, this idea was already dead, and the Dmitrievs did not have any new one. This is the tragedy of the situation. On the one hand, the purchasers of the Lukyanovs, who know how to work well (which Lena is valued at work, is emphasized in the story), know how to equip life, but they don’t think about anything other than that. On the other hand, the Dmitrievs, who still retain the inertia of intellectual decency, but with time are losing it more and more, not supported by the idea.

Viktor Georgievich has already "become a fool", and probably this process was accelerated by Nadezhda, who is counting on the fact that the main character's conscience will be resurrected. Still, in my opinion, the death of his mother caused some kind of moral shock in the hero, with which, apparently, Dmitriev's malaise was also connected. But still, the chances of his spiritual revival are very small. And it is not without reason that in the last lines of this story the author reports that he learned the whole story from Viktor Georgievich, who now seems to be a sick man, crushed by life. The exchange of moral values ​​took place in his soul, led to a sad result. Reverse exchange for the hero is almost impossible.

The story "Exchange" was written by Trifonov in 1969 and published in the "New World" in the same year in latest issue. She opened the cycle of "Moscow Tales" about actual problems Soviet citizens.

Genre originality

In the foreground in the story are family and everyday problems that expose philosophical questions the meaning of human life. This is a story about a worthy life and death. In addition, Trifonov reveals the psychology of each character, even minor ones. Each of them has their own truth, but the dialogue does not work.

Issues

Trifonov addresses the topic of confrontation between two families. Victor Dmitriev, having married Lena Lukyanova, could not convey to her the values ​​of the Dmitriev family: spiritual sensitivity, gentleness, tact, intelligence. On the other hand, Dmitriev himself, in the words of his sister Laura, “became lukewarm”, that is, he became pragmatic, striving not so much for material wealth as for being left alone.

Trifonov raises in the story important social problems. The modern reader does not understand the problem of the protagonist. soviet man, as if he had no property, and did not have the right to live in a normal apartment with rooms for spouses and a child. And it was completely wild that the mother’s room after death could not be inherited, but would go to the state. So Lena tried to save the property in the only possible way: by exchanging two rooms in a communal apartment for two-room apartment. Another thing is that Ksenia Fedorovna immediately guessed about her fatal illness. It is in this, and not in the exchange itself, that the evil emanating from the insensitive Lena lies.

Plot and composition

The main action takes place on an October afternoon and in the morning. next day. But the reader gets acquainted not only with the whole life of the protagonist, but also learns about the families of the Lukyanovs and Dmitrievs. This Trifonov achieves with the help of retrospection. The protagonist reflects on the events happening to him and his own actions, remembering the past.

Standing in front of the hero difficult task: to inform the terminally ill mother, who does not know the seriousness of her illness, and her sister that Lena's wife is planning an exchange. In addition, the hero needs to get money for treatment for his sister Laura, with whom her mother lives now. The hero solves both tasks brilliantly, so the former lover offers him money, and by moving to his mother, he supposedly helps his sister leave on a long business trip.

The last page of the story contains the events of six months: there is a move, the mother dies, the hero feels miserable. The narrator adds on his own behalf that Dmitriev's childhood home was demolished, where he was never able to convey family values. So the Lukyanovs defeated the Dmitrievs in a symbolic sense.

Heroes of the story

The protagonist of the story is 37-year-old Dmitriev. He is middle-aged, plump, with an eternal smell of tobacco from his mouth. The hero is proud, he takes the love of his mother, wife, mistress for granted. Dmitriev's life credo is "I got used to it and calmed down." He comes to terms with the fact that his loving wife and mother do not get along.

Dmitriev defends his mother, whom Lena calls a hypocrite. The sister believes that Dmitriev has gone rogue, that is, he betrayed his high spirit and disinterestedness for the sake of the material.

Dmitriev considers peace to be the most valuable thing in life and protects it with all his might. Another value of Dmitriev and his consolation is that he has "everything like everyone else."

Dmitriev is helpless. He cannot write a dissertation, although Lena agrees to help in everything. Especially revealing is the story of Lyovka Bubrik, whom his father-in-law, at the request of Lena, found a good place in GINEGA, where Dmitriev himself eventually went to work. And Lena took all the blame. Everything was revealed when Lena, at Ksenia Fedorovna's birthday, said that it was Dmitriev's decision.

At the end of the story, Dmitriev's mother explains the subtext of the exchange made by the hero: having exchanged true values for momentary gain, he lost his emotional sensitivity.

Dmitriev's wife Lena is smart. She is a specialist in technical translation. Dmitriev considers Lena selfish and callous. According to Dmitriev, Lena notes some spiritual inaccuracy. He throws an accusation in his wife's face that she has a mental defect, underdevelopment of feelings, something subhuman.

Lena knows how to get her way. Wanting to exchange an apartment, she cares not about herself, but about her family.

Dmitriev's father-in-law, Ivan Vasilievich, was a tanner by profession, but he was advancing trade union line. Through his efforts, a telephone was installed in the dacha six months later. He was always on the alert, he did not trust anyone. The father-in-law's speech was full of clericalism, which is why Dmitriev's mother considered him unintelligent.

Tanya is Dmitriev's former mistress, with whom he got together 3 years ago for one summer. She is 34 years old, she looks sickly: thin, pale. Her eyes are big and kind. Tanya is afraid for Dmitriev. After a relationship with him, she stayed with her son Alik: her husband quit his job and left Moscow, because Tanya could no longer live with him. Her husband really loved her. Dmitriev thinks that Tanya would be him best wife, but leaves everything as it is.

Tatyana and Ksenia Fedorovna are nice to each other. Tatyana pities Dmitriev and loves him, while Dmitriev pities her only for a moment. Dmitriev thinks that this love is forever. Tatyana knows many poems and reads them by heart in a whisper, especially when there is nothing to talk about.

Mother Dmitrieva Ksenia Fedorovna is an intelligent, respected woman. She worked as a senior bibliographer in one of the academic libraries. The mother is so simple-hearted that she does not understand the danger of her illness. She made peace with Lena. Ksenia Fedorovna is "benevolent, compliant, ready to help and takes part." Only Lena does not appreciate this. Ksenia Fedorovna is not inclined to lose heart, she communicates in a joking manner.

Mother loves selflessly to help distant acquaintances and relatives. But Dmitriev understands that the mother is doing this in order to be reputed a good man. For this, Lena called Dmitriev's mother a hypocrite.

Dmitriev's grandfather is the keeper of family values. Lena called him a well-preserved monster. Grandfather was a lawyer who graduated from St. Petersburg University, in his youth he was in a fortress, was in exile and fled abroad. Grandfather was small and shrunken, his skin was tanned, and his hands were clumsy and disfigured by hard work.

Unlike the daughter, the grandfather does not despise people if they belong to a different circle, and does not condemn anyone. He lives not in the past, but in his short future. It was the grandfather who gave a well-aimed description of Victor: “You are not a bad person. But not amazing either."

Laura, Dmitriev's sister, is middle-aged, with gray-black hair and a tanned forehead. She spends 5 months in Central Asia every year. Laura is cunning and perspicacious. She did not come to terms with Lena's attitude towards her mother. Laura is uncompromising: “Her thoughts never bend. Always sticking out and pricking.

Artistic originality

The author uses details instead of lengthy characteristics. For example, the sagging belly of his wife, seen by Dmitriev, speaks of his coldness towards her. Two pillows on the matrimonial bed, one of which, stale, belongs to the husband, indicate that there is no true love between the spouses.

Lesson Objectives:

educational - to reveal the philosophical meaning of the work; to reveal the position of the characters of the story in relation to the issue of the exchange; having created a problematic situation, encourage students to express their own point of view about the life principles of the Dmitriev and Lukyanov families, as well as the main characters - Viktor and Lena Dmitriev;

educational - to promote the formation of students' own point of view on the identified problem; create situations in which students will understand that there is a way out of any difficult situation;

developing - to promote the formation of group work skills, public speaking, the ability to defend one's point of view; activation of students' creative abilities.

Equipment: slide material, computer, screen, images of the heroes of the play.

Methodical methods: learning dialogue, elements role play creating a problematic situation.

Methods: verbal, visual, partially search and research.

Lesson form: lesson-thinking.

During the classes

“Ice on the ground, ice ..”.
Vladimir Vysotsky

From good to bad, one chateau "k.
Proverb

“There are two abysses in a man,” Dostoevsky taught, and he does not choose between them, but rushes about like a pendulum.
Joseph Brodsky

1. introduction teachers.

Today, in a series of events, we have the last joint public lesson. Very soon we will part with you, and you will enter adulthood with its ups and downs, joys and disappointments, wonderful acquaintances and the desire to separate yourself from someone ... Tell me, didn’t all this happen in our life today? It was, of course, but it was not always conscious, it took place when the shoulder of loved ones and relatives was always there, and their opinion was almost undeniable and very authoritative. However, in adulthood, many pitfalls await you, stones in your bosom, the opinions of former authorities do not work. And I would very much like our excursion into adulthood to be remembered one day and at least slightly alleviate difficult moments.

2. Issues for discussion.

A) Work with the epigraph of the lesson:

Look at the epigraphs that I offered you to start our conversation?

How do they fit into the topic of our lesson? And which one would be better for you? Argument your point of view. (Slide number 1 teacher)

B) Work with the title of the story.

You already know what aglavia is an important component of the text, it is important for revealing the ideological and philosophical meaning of the work.

The title is always a message about the content of what we are about to read. “Starting to read a book,” noted A.M. Peshkovsky, “the reader is interested in its content and in the title sees a hint of this content or even a concise expression of it ... This means that the title of a book is always something more than a title.”

Look at the title of our story and determine the future direction of the conversation, the semantic core .. ( Presentation)

Why suddenly the usual household, family situation grows into a conflict? Give us a brief summary of this story.

So, in order to understand the conflict, let's take a closer look at the main character of the story, Viktor Georgievich Dmitriev.

Before giving the floor to the first creative group, I remind you of the main requirements that we impose on speakers (clearness of thought, conciseness, consistency, evidence, clarity, schematization when working with presentations. Students have sheets that contain an assessment of the presentation materials of the speakers )

1) The group “Viktor Georgievich Dmitriev” based on textual material - a general acquaintance with the character without deepening:

A native Muscovite from a family of pre-revolutionary intellectuals;

In the story - junior researcher, specialist of the Research Institute for pumping units - 37 years old;

Married, has a wife, Elena, and a daughter, Natasha, a student at a special school for learning English;

Lives in Moscow in a small communal apartment;

He organizes the exchange of apartments at the very moment when it is discovered that the mother is terminally ill.

Teacher's word:

What kind of person could do this: an unprincipled grabber? A spineless bastard? Who is he? Or maybe just selfish? To answer these questions, let's take a closer look at his origins, his family (already in the composition in which we find it). And let's try to answer main question: In what world was Victor's worldview formed? What influenced the formation of the character of Victor?

In the article “Choose, Decide, Sacrifice,” the writer rightly said that “life is ordinary life, a test of life, where a new, today's morality is manifested and tested. And then he added that "life is a war that does not know a truce." According to Yu. Trifonov, he strove in the "Exchange" to the density of writing, to ensure "to depict as fully as possible the complexity of the circumstances in which a person lives," the complexity of relationships. That is why the story is saturated with subtexts, that is why it rests on allegories. Every action here is a move in a positional struggle, every retort is a fencing attack. Let's try to get to the heart of the story.

2) The Dmitriev family:

Origin, social status (mother, father, grandfather, sister Laura);

Circle of interests, hobbies, occupations of each;

family priorities;

The cult of the family is sacrifice, the fear of being a burden to someone.

Bottom line: so what does the Dmitriev family appear to us, at least at first glance?

origin, social status;

family priorities;

Family cult.

Bottom line: so what kind of Lukyanov family appears before us, at least at first glance?

Origin, social status;

Circle of interests, hobbies, occupations;

Priorities;

Lena's trouble is not in her desires and aspirations, but in the means of their realization.

5) So who is more he, the main character: Dmitriev or Lukyanov?

The steps of gradual “lukyanization” is an irreversible process, which boils down to getting bogged down in trifles

“You have already exchanged, Vitya. The exchange took place.. It was a very long time ago. And it always happens. Every day, so don't be surprised, Vitya. And don't get angry. It's just so imperceptible."

The first very imperceptible step - rushed after the failure of admission to art school at least somewhere. The first loss of oneself is an unloved job;

Marrying another girl - not from a blue dream - loss family happiness and eternal concessions in trifles;

Dreams about .. and “..you are late, Vitenka”. Page 50;

Dmitriev - candidate of sciences, gave up - did not finish his dissertation - p. 51.

History with a portrait of the father;

A trip to Bulgaria to Golden Sands - father's illness (stroke);

History with the grandfather (talk about contempt);

Funeral and commemoration of grandfather - death and canned saury-deficit (pp. 47-49);

The transition to the Institute of Gas and Oil - and the reasons for this transition (the story of Levka Bubrik) (according to the grandfather, everyone expected something different from Viktor. “Nothing terrible happened, of course. You are not a bad person. But also not amazing” - betrayal of a friend;

The story with Tatyana - a game - deception - a gap in Tanya's family;

Apartment exchange due to mother's illness;

Mother's funeral and exchange.

Compare with another character - Ionych + "Young" Solzhenitsyn.

Find in these “micro-concessions” those where the equalization of such concepts takes place, which are incomparable in their significance.

So why is it said in passing about the death of his grandfather, the death of the mother of Viktor Georgievich? Why did these, perhaps, the most tragic moments of life, especially the loss of a mother, not become a tragedy? What role did the Dmitriev family play in this? (The very sacrifice that was cultivated in the Dmitriev family was the fundamental basis for the rejection of the son from the family, it was the sacrifice of the parents (not to be a burden to children) that gave birth in Viktor Georgievich to the complete conviction that parents, grandfathers are not the most sacred. No wonder they say that evil does not seek harmony, his strength lies in routine, and this routine was able to regenerate moral values in the inner world of the main character).

One more detail is alarming and keeps us from pitying him: Lena calls a spade a spade, but Victor does not. He needs a cover, some noble legend. Like the one he gives to his sister Laura: “I don't need a damn thing, absolutely not a damn thing. In addition, that our mother was well. She wanted to live with me always, you know that, and if now it can help her…”.

6) Please share the observations and reasoning of our expert parents, who also took part in the discussion of this story. Tell me the way out of this zugzwang. (The statements of the children, the statements of the parents about the main character, his actions are read). Presentation

I would like to conclude our lesson with the words of Joseph Brodsky, which he spoke to the students of the University of Michigan back in 1988.

"Consider what you are about to hear just the advice of the tip of a few icebergs, so to speak, and not Mount Sinai. I am not Moses, you are not Old Testament Jews either; these slightly messy sketches, (...) are not tablets. Ignore them, question them if you like, forget them if necessary, if you cannot otherwise: there is nothing obligatory in them. If some of them are useful to you now or in the future, I will be glad. If not, my wrath will not overtake you. ”

Note to the lesson: create a syncwine (each group has its own character).

Reflection:

Use the colored cards on your desk to mark your emotional state during the lesson and put them in an envelope.

We ask the guests of the lesson - parents to express their observations, thoughts on the topic of the lesson.

Homework: written work “Thinking about what you read”.