Russian lliterature

Russian literature has become an integral part of world culture and has received recognition from major artists.

Literature Championship in cultural life of the Russian people is explained by its origin and the significance that it has acquired since its inception. Writing and literature in Rus' were brought from outside along with Christianity. The book appeared in Rus' in the form of a sacred text, which decisively influenced the place and role of literature in the history of Russian culture.

For centuries, church literature remained the main and only mental and moral food for Russian scribes and for the entire people. Thus, she greatly contributed to the formation folk character. Thus, Russian literature immediately and forever marked its connection with national and state life.

The most significant works of the Kyiv period include the teachings of Metropolitan Hilarion (XI century), "The Tale of Bygone Years" (XI - early XII centuries), "The Teachings of Prince Vladimir Monomakh" (XI - early XII centuries), the works of Bishop Kirill Turovsky (XII century), "The Tale of Igor's Campaign" (XII century), "The Walking of Daniel the Sharper" (XII century). It was a busy time literary activity, who created the samples literary forms and genres for subsequent centuries.

Russian literature of the late Middle Ages is characterized by a feeling of being chosen (the theory of Moscow - the third Rome). Internal upheavals of the 16th-17th centuries. gave literature the character of religious and political journalism. In some cases, these works rise to high artistic level. Such are the “much noisy” messages of Ivan the Terrible and “The Life of Archpriest Avvakum.” At the same time, oral folk poetry achieved great power, beauty and expressiveness, but ancient Russian writers almost did not use this source. But with late XVI V. The secular everyday story is rapidly developing, as a rule, reworking wandering stories Western and Eastern literature.

From the end of the 17th century. Russian culture is experiencing a rapid invasion of Western European values. The ideological revolution, which coincided with the reform of language and spelling, led to the cultural crisis of the 18th century. Writers of that time wavered between unconditional imitation of French models and the search for their own themes, language and style. The desire to give literature national identity can be traced throughout the entire period: V.K. Trediakovsky and M.V. Lomonosov create a theory of correct Russian versification; A.V. Sumarokov writes songs in folk style; DI. Fonvizin creates comedies with Russian everyday content and live spoken language; Derzhavin anticipates the “sacred heat” of later Russian poetry.

The Russian literary language found its final form in the works of N.M. Karamzina, V.A. Zhukovsky and A.S. Pushkin.

Alexander's time was a period of great creative tension, when Russian writers experienced the first joy of independent creativity, completely national in spirit and style. Poetry has become an indisputable spiritual feat and calling, and has acquired the meaning of a “sacred act.” In literary creativity one can feel some special force of life, the highest expression of which was the work of A.S. Pushkin.

Since the 1840s Moral and metaphysical anxiety is growing in literature, which has found theoretical reflection in romanticism. The theme emerges extra person¦.

The era of "great reforms" of the 1860-1870s. awakened the attention of literature to social issues. Two creative highways of Russian literature are identified. Supporters" pure art"(A. Grigoriev, A.V. Druzhinin, A.A. Fet) resolutely rebel against the moral and utilitarian function of literature, while L.N. Tolstoy aims at the “destruction of aesthetics” for the sake of the moral transformation of people through art. Religious understanding of the Russian experience of the 19th century found expression in the works of F.M. Dostoevsky. philosophical issues determines the flourishing of the Russian novel. However philosophical motives sound clearly in the lyrics (F.I. Tyutchev).

In the pre-revolutionary years, a new cultural upsurge took place in literature, called " silver age".

Since the 1890s a new flowering of Russian poetry begins. Symbolism became not only literary movement, but also new spiritual experiences. Poetry and literature again receive special vital significance, as a path to faith and eternity through art. Artists strive to become “beyond good and evil”, to overcome ethics with aesthetics. Mysticism V.S. Solovyov finds a brilliant poetic commentary in the work of A.A. Blok. Acmeism becomes a reaction to the religious excitement of symbolism, to the understanding of the poet as a medium of higher, irrational forces (N.S. Gumilyov). At the same time, A.P. Chekhov and I.A. Bunin continue the classical line of Russian literature, enriching it the latest achievements in the form area.

The revolution of 1917 caused an artificial separation of Russian literature into domestic and emigrant literature, with the most prominent writers ending up abroad. However, in general, literature has retained its unity, based on involvement in the traditions of classical Russian culture, which are present to one degree or another in the works of I.A. Bunina, V.V. Nabokova, I.I. Shmeleva, G.I. Gazdanova, G.V. Ivanova, V.F. Khodasevich and O.E. Mandelstam, M.A. Bulgakova, B.L. Pasternak, M. Gorky, M. Sholokhov. It was this line of Russian literature that earned it in the 20th century. world recognition.

The last great examples of Russian prose were given by A.I. Solzhenitsyn, who managed to give a second wind to the classic Russian novel. In the field of poetry, the work of I. Brodsky has received worldwide recognition.

The path traveled by Russian literature in the 20th century testifies to its enduring global significance and inexhaustible creative possibilities.

When a person is absorbed in the contemplation of some object or phenomenon (and it does not matter - natural or cultural), then he perceives what he contemplates holistically, distracting from the details and nuances, that is, from the entire mechanics of structuring the object - what science does. When he tries to comprehend the impression he received, then, remembering the holistic image of what he saw, he nevertheless revives in his memory the most important and essential, trying to isolate the root and core of the object. And if you manage to grab this root, then integrity is restored. This root is the originality of an object, that is, the most dense condensation of its unique and original properties in minimal features and characteristics.
Vladimir Dahl's dictionary gives the most concentrated understanding of the word “original”, which does not contain unnecessary semantic overtones: “existent by itself or from itself, by its own forces. Strictly speaking, God alone is original, but this is the name for the independent personality and properties of a person, in contrast to everything imitative , especially his creative talents, genius. To exist independently, to live an original, self-essential life.”
This Dalevian “strictly speaking” is the essence of originality, in which the absolute ontology of the created world is revealed. Since created being is not independent, but is a borrowed being, the originality of the created, and therefore its independence and originality, is revealed only in imitation of the Creator-God - the true root of originality. Imitation within the created world means loss of originality and independence, which means doom to a secondary existence.
Based on Dahl’s interpretations, we can say that the self-existent world of Plato’s ideas is self-existent, which is an imperishable image of the “transient” existence of the mortal world. And the world does not fall apart only because there are grains of originality in it - elements of eternity that hold together the chaos of a non-uniform existence. The harmony of the Greek cosmos is the harmony of ideal (that is, original) geometric quantities that form the aesthetic beauty of the universe.
The Old Testament laments are a longing for the original Yahweh leaving the Jewish people. “Why, Lord, do you stand afar off, hiding Yourself during sorrow?” - the desperate questions of the psalmist, whose soul is constantly engulfed in the darkness of God-forsakenness, that is, a non-original existence.
In Christianity, the created world, naturally, is not original, but it receives existential power thanks to energetic participation in the original God. And only due to the manifested originality of God in the world in the images of God, created existence receives the measure, harmony and order it needs. Just gets the opportunity to be.
So, without identity there is no existence in the world. The subject of our interest is the cultural identity of the people, the Russian people, first of all. How to comprehend it, how to discover it and cash it, how to make it the life-giving source of national existence?

The intelligent gaze penetrates through the chaos of the endless facets of an object to its hidden, ineffable essence, which, removed from the dark depths of the object, appears as obvious, transparent and accessible. Once upon a time, it was in this way that V. Rozanov got to the very core of Russian identity, saying in the article “L.N. Tolstoy and the Russian Church” that “The temple completely replaces the gymnasium, school, university, book and science for our people.” With all the shocking power of these words (shocking, first of all, the secular-liberal “enlightened” consciousness), Rozanov still discerned the most original and even essential feature of Russian national existence.
How does this temple replace the university, replace the book, and even science itself? What an absurdity! Isn’t the temple keeper the source of books, enlightenment, and culture? - conservative zealots of piety will ask in bewilderment. And the anti-church intelligentsia will gloatingly exclaim at these words of Rozanov that, they say, it is correct, the church has always been an obstacle to knowledge, reason, enlightenment, which is why the Russian people are so dark and uneducated.
The conservatives are right, of course, because historically (and...

Questions 1. 2. 3. Global significance and national self-determination of the Russian literature of the 19th century century. Periodization. general characteristics era and literary process first third of the nineteenth century. General characteristics of the era and literary process of the second third of the nineteenth century.

4. Artistic specificity of Russian realism. 5. Varieties critical realism. 6. The heyday of the Russian novel. 7. “Magazine” prose. Critical thought of the era.

Periodization of Russian literature of the 19th century. 1. Russian literature of the 1st third of the 19th century. V. A. Zhukovsky, K. N. Batyushkov, Decembrist poets (V. Kuchelbecker, K. F. Ryleev), I. A. Krylov, A. S. Griboyedov, A. S. Pushkin, poets of love (D. V. Venevitinov, A. S. Khomyakov, S. P. Shevyrev), E. A. Baratynsky, A. A. Delvig, P. A. Vyazemsky, M. Yu. Lermontov, N. V. Gogol.

Periodization of Russian literature of the 19th century. 2. Russian literature of the 2nd third of the 19th century. (1840 – 60) A. I. Herzen, I. S. Turgenev, I. A. Goncharov, N. A. Nekrasov, A. A. Fet, F. I. Tyutchev, A. N. Ostrovsky, A. K Tolstoy, A. F. Pisemsky, N. G. Chernyshevsky, M. E. Saltykov. Shchedrin.

Periodization of Russian literature of the 19th century. 3. Russian literature of the last third of the 19th century. (1870 -90) F. M. Dostoevsky, L. N. Tolstoy, N. S. Leskov, G. I. Uspensky, P. I. Melnikov-Pechersky, D. N. Mamin. Sibiryak, V. M. Garshin, V. G. Korolenko, A. P. Chekhov.

Features of Russian literature of the 1st third of the 19th century. : § § § searches for new, national subjects, themes and poetic forms; movement towards the identity of the Russian people; maintaining the inertia of classicist artistic thinking; the influence of sentimentalism on the literary process; the approach of a new literary era - romanticism (V. A. Zhukovsky);

Features of Russian literature of the 1st third of the 19th century. : § § development of satirical poetry by P. P. Sumarokov, A. E. Izmailov and others; a sense of the spiritual unity of the nation and faith in the great future of the Russian people; proclamation of thoughts about the need to “delve into the character Russian people, into the spirit of Russian antiquity and then into the private characters of our ancient heroes”; the appearance of fables (I. A. Krylov).

General characteristics of the era and literary process of the second third of the 19th century. “The revolution is on the threshold of Russia. But, I swear, it will not penetrate Russia as long as the breath of life remains in me.” Nicholas I (1825 -1855) (from the emperor’s speech after the events of December 14, 1825).

The main directions of philosophical thought of the era: Slavophilism - thinkers and publicists (A. S. Khomyakov, I. V. and P. V. Kireevsky, I. S. and K. S. Aksakov, Yu. F. Samarin): n idealized the pre-Petrine Rus', insisted on its originality (peasant community, Orthodoxy) n proposed a peaceful path of social transformation in the country.

The main directions of philosophical thought of the era: Westernism - historians and writers (I. S. Turgenev, T. N. Granovsky, S. M. Solovyov, K. D. Kavelin, B. N. Chicherin). n supporters of the European path of development n advocated political and social reforms from above peacefully.

The main directions of philosophical thought of the era: Radical direction - revolutionary democratic (magazines “Sovremennik”, “Domestic Notes”: V. G. Belinsky, A. I. Herzen, N. A. Nekrasov). n supporters of the European path of development n believed that revolutionary upheavals were inevitable.

The era of Alexander II (1856 – 1881) “It is better to cancel serfdom from above, rather than wait for the time when it itself begins to be canceled from below” (from the emperor’s speech on March 30, 1856). Alexander II (1856 -1881)

Artistic specificity of Russian realism Russian literature of the first half of the 19th century 1825 Russian literature of the second half of the 19th century 1880 -990

The originality of Russian prose of the 19th century A. S. Pushkin: the idea of the Law, the laws that determine the state of the world, social structures, the place and significance of man, his identity and connection with the whole. M. Yu. Lermontov: upholding rights human personality, hostility to the laws of society, lies, hypocrisy. N.V. Gogol: a world far from ideas about the law, vulgar everyday life, in which all concepts of honor and morality, conscience are mutilated.

Russian literature of the 2nd part of the 19th century. “Natural School” (V.G. Belinsky) Realistic Literature proper: naturalistic: Nekrasov Dal Turgenev Butkov Goncharov Grigorovich Herzen Reshetnikov and others Dostoevsky Saltykov Ostrovsky Aksakov and many others. etc.

The meaning of the “Natural School”: 1. summed up the artistic endeavors of Pushkin, Griboedov, Krylov, Gogol and Lermontov; 2. confirmed the pattern of transition from romanticism to realism; 3. marked the beginning of the flourishing of socio-psychological analysis in Russian literature;

4. laid down the tradition of sharply denouncing all the foundations of the existing legal order; 5. contributed to the unification of the most talented writers around realistically oriented publications (magazines “Otechestvennye zapiski”, “Sovremennik”; 6. strengthened reader’s interest in depicting reality;

7. raised a new type of writer and reader; 8. contributed to the displacement of romanticism that dominated Russian literature; 9. radically changed the structure of the literary process, clearing space for critical realism; 10. contributed to a significant change in the system of genres.

Typological varieties of Russian realism 1. By thematic affiliation of works from noble, merchant, bureaucratic, peasant life 2. By genre affiliation: n family, everyday, chronicle genres - S. T. Aksakov “The Childhood Years of Bagrov the Grandson”; n estate novel by I. A. Goncharov “Ordinary History”, I. S. Turgenev “ Noble Nest" ; n socio-social novel. (I. A. Goncharov “Oblomov”, I. S. Turgenev “Fathers and Sons” n

3. On a methodological basis, n reflects the forms of life itself - I. S. Turgenev, I. A. Goncharov (1840-60s) n satirical, grotesque - N. V. Gogol, M. E. Shchedrin, in the images of Ostrovsky, Sukhovo. Kobylina, Leskova (1840-60s) n “philosophical-religious”, “ethico-psychological” - F. M. Dostoevsky, L. N. Tolstoy, elements from Garshin, Uspensky, Leskov (1860-70s).

Supporters of “Pure Art” (Fet, Tyutchev, A.K. Tolstoy, Polonsky, Maikov) 1. understood reality as the entire boundless world of nature and the subjective principle in man, the life of his heart; 2. they were excited by the beauty of existence itself, the eternal human values;

3. philosophized about the catastrophic nature of the world; 4. relied on the tradition of Zhukovsky, revived his poetics and, consequently, romanticism.

The history of the formation of the novel The triumph of the novel relates to Western Europe to the 18th century In the Roman Empire - drama in a story, or narrated drama - a genre that was not included in the genre typology of literature and did not obey any written rules (written in Greek by Chariton, Xenophon of Ephesus, etc., written in Latin by Apuleius and Gaius Petronius Arbiter) .

Middle Ages n poetic chivalric novel, which belonged to the courtly epic; characters perform feats not in the name of the clan or vassal duty, but for the sake of their own glory and in the name of their beloved (novels about King Arthur and knights round table, about the love of Tristan and Isolde, about the search for the Holy Grail).

Renaissance two great novels: “Gargantua and Pangruel” by F. Rabelais (not a novel, but a comic epic in the traditions of folk unofficial culture) - “Don Quixote” by M. Cervantes, based on a chivalric romance

The heyday of the Russian realistic novel (1846 -1847) Since 1750, translated novels have appeared since 1763 - original Russian novels. The picaresque novel “The Pretty Cook, or the Adventures of a Depraved Woman” by M. D. Chulkov. The first classic Russian novel - “ An ordinary story"I. A. Goncharova (1847).

Types of the novel: 1. Realistic novel of the 19th -20th centuries. – explores the connections between man and society 2. Philosophical – poses eternal questions- meaning human life, good and evil (Lermontov “Hero of Our Time”) 3. Social and everyday – way of life and characters typical for this way of life (Tolstoy “Anna Karenina”) 4. Psychological – reveals personality from the outside inner world(Dostoevsky)

The basis of the Russian realistic novel: n n n satirical naturalism of N. V. Gogol; the old sentimental realism of George Sand; classical realism of Pushkin and Lermontov; the evolution of Moscow circles in the 30s and 40s; critical articles Belinsky (1841 -1845).

Features of Russian realism: n n convincing realistic forms for describing an ordinary person; sympathetic attitude towards a person, regardless of class affiliation; close attention to the details of the environment, appearance and physical behavior of the character; introducing vulgar, base, unpleasant and unsightly aspects of life into fiction;

Features of Russian realism: n n satirical attitude towards existing forms life; neglect of the structure and fascination of the story, concentration on extra-plot interest, on characters and introspection; stylistic simplicity, a constant desire to make the style unnoticeable and unobtrusive; subjects from modern or almost modern Russian life.

“Journal” prose Democratic wing (“Sovremennik”, “Russian Word”, “Bell”, “Voices from Russia”, etc.). Liberal wing (“Russian Bulletin”, “Notes of the Fatherland”, “Library for Reading”, “Moskvityanin”, “Russian Conversation”, etc.) Issues about the fate of culture and art were resolved in journal polemics. There was a struggle between two directions of literary creativity - the “natural school” and “pure art”

Magazine controversy 1860s Supporters of “pure art”, so-called. “organic criticism” (Apollo Grigoriev, Druzhinin, Botkin): art addresses eternal, universal problems - goodness, beauty; n the condition for art is artistry, skill; n harmony of form and content. n

Journal controversy of the 1860s. Program " natural school", so-called “real criticism” (Dobrolyubov, Chernyshevsky, Pisarev): n literature should focus on social issues; n main topic- man and environment; n main value works - his problematics; n the main thing is the content, and the form is how it comes out; n the hero is a “man of action”, a revolutionary – a realist without dreams or reflections, who clearly knows what he wants, has a program of action and steadily follows this program.

Social and literary concepts of the Sovremennik magazines are one of the most active propagandists of the ideas of the “natural school”. Art program– “Essays on the Gogol period of Russian literature” by N. G. Chernyshevsky (1855 – 1856). “Russian Word” is “a tribune of democratic ideas”, “an unvarnished image of the people’s lot.” "Split in the Nihilists"

Dobrolyubov Nikolai Alekseevich (1836 -1861) Leading critic of the Sovremennik magazine: “Interlocutor of lovers of the Russian word” (1856); " Provincial essays"(about the book by M. E. Saltykov-Shchedrin); "The Dark Kingdom" (1859) and "A Ray of Light in Dark Kingdom"(1860) (about Ostrovsky's plays); "Literary Dreams of the Last Year" (1858); “What is Oblomovism? "(1859) (about Goncharov’s novel); “When will the real day come? "(1860). n Dobrolyubov. N.A., photograph 1861

Pisarev Dmitry Ivanovich (1840 - 1868) “Scholasticism of the 19th century”, “Motives of Russian drama” (1864). "Flowers of Innocent Humor" (1864); "The Destruction of Aesthetics" (1865); "Pushkin and Belinsky" (1865). "The Realists" (1864); "Bazarov" (1862); “Pisemsky, Turgenev, Goncharov” (1861); " New type"("The Thinking Proletariat") (1865); “The Dead and the Perishing” (about Pomyalovsky and Dostoevsky) (1866); "Heinrich Heine" (1867)

Lesson plan on literature on the topic: Introduction. Historical and literary process and periodization of Russian literature. The originality of literature.

Organization: State educational institution Republic of Khakassia middle vocational education"Montenegrin Mining and Construction College"

Goals:

Reveal the originality of Russian classical literature 19th century.

Help the student to be constantly involved in the process of thinking.

Complicating the semantic function of students’ speech.

Teach students to summarize and systematize the material.

Task: Ensuring students’ emotional involvement in their own activities and the activities of others.

Lesson type: Communicating knowledge and skills.

Plan:

Periodization of Russian literature.

The originality of literature.

“Only the young can call old age a time of peace.”

(S. Lukyanenko)

During the classes:

Organizing time.

Updating basic knowledge and skills: questions about the school curriculum.

“I am incredibly proud not only of the abundance of talents born in Russia in the 19th century, but also of their amazing diversity” (M. Gorky).

How do you understand these words?

New topic. Teacher's word.

Introduction. Dictionary:

Questions for students:

What does the word intelligentsia mean?

What does the word ideal mean?

What does the word raznochinets mean?

What does the word revolutionary mean?

What does the word liberal mean?

Intelligentsia – people of mental labor with education and special knowledge in various fields of science, technology, and culture.

Ideal – The perfect embodiment of something (in other words, this is the best that exists).

Revolutionary - a person who makes a revolution, opens up new paths in some area of life, in science, in production.

Raznochinets - V pre-revolutionary Russia: comes from a petty bureaucracy, engaged in mental work. Various ranks: teachers, doctors, engineers, etc.

In Russia, literature has always been in alliance with the liberation movement. The powerless situation of one part of the population (peasants) against the backdrop of the easy life of the noble class helped to attract attention to the problem of serfdom on the part of enlightened and humane representatives of the educated stratum, prompting their sympathy and compassion.First of all, this applied to writers.

Inevitable clashes and ideological conflicts were hidden in the very essence of Russian life, and a writer who penetrated into this essence could not help but notice them. Many Russian writers did not share revolutionary beliefs. Everyone, however, agreed that fundamental changes were needed in Russia. The West has already gone through a series of revolutionary upheavals, but Russia has not yet experienced them. The revolutions that died down in the West brought people more disappointments than joys.The best hopes turned out to be unjustified.

The greatest innovation of Russian literature lies in the interweaving of its destinies with the destinies of the Russian revolution. By the end of the 19th century, Russia had accumulated such an amount of energy that humanity had never had at any time. And this was attested to by Russian literature.

Pushkin gave Russian literature both a national and universal character. Pushkin is a like-minded person of the first generation of Russian revolutionaries.

The main provisions of the features of the literary process of the second half of the 19th century:

1) Russia faces a choice further paths development, basic questions: “Who is to blame?” and “What should I do?” Decisive democratization fiction. Civic pathos of literature.

2) Specialization of literature: Goncharov, Tolstoy - epics, Levitov, Uspensky - essayists, Ostrovsky - playwright, etc.

3) The plots of the novels are simple, local, family-based, but through the plots the artists of the word rise to universal human problems: the relationship of the hero with the world, the interpenetration of the elements of life, renunciation of personal good, shame for one’s own well-being, epic maximalism, reluctance to participate in the imperfections of the world.

4) The new hero reflects the state of the individual in an era of social transformation; he, like the whole country, is on the path to self-awareness, the awakening of the personal principle. The heroes of different works (Turgenev, Goncharov, Chernyshevsky, Dostoevsky) are polemical in relation to each other, but this feature unites them.

5) Increased demands on a person's personality. Self-sacrifice - national trait. The good of others is supreme moral value. Personality, according to Tolstoy, is represented in the form of a fraction:

moral qualities

Self-esteem

6) Both Tolstoy and Chernyshevsky see the source of Russian strength and Russian wisdom in popular feeling. Human destiny, in unity with the destiny of the people, did not result in the humiliation of the personal principle. On the contrary, at the highest stage spiritual development the hero comes to the people (epic novel “War and Peace”).

3.3. Periodization of Russian literature.

1st period: 1825-1861 – noble;

2nd period: 1861-1895 – raznochinsky;

3rd period: 1895-...proletarian.

Peasant unrest swept across the country. The issue of liberating the peasants has become very urgent. The rise of peasant unrest caused a rise in public opinion.Since 1859 Two historical forces stand out: revolutionary democrats and liberals.

The second half of the 19th century is a “golden” time, but unlike the first half, the second half has its own characteristics associated with social conditions. In the literature of the first half of the 19th century, the hero was a nobleman - an “extra” person who approached great things, but was spoiled by his upbringing. By the beginning of the second half of the 19th century, the nobility had exhausted its progressive capabilities and began to revive:Pechorin and Onegin gradually turned into Oblomov.

The nobility leaves the stage political struggle. They are being replaced by commoners. The emergence of commoners on the stage of political struggle did not occur without the merit of Russian literature.Russian literature is the literature of social thought.

And also before thinking people Numerous “whys” related to public life, and to human relationships.Literature has taken the path of a comprehensive study of life.

In the literature of the 19th century, styles and views are closely intertwined, artistic media And artistic ideas. As a result of the interaction of all these trends, realism begins to take shape in Russia as a completely new stage in literature’s understanding of man and his life.The founder of this direction is considered to be A.S. Pushkin. Its basis is the principle of life’s truth, which guides the artist in his work, striving to give a complete and true reflection of life. Critical realism was based on positive ideals- patriotism, sympathy for the oppressed masses, search for positive hero in life, faith in the bright future of Russia.

Consolidation.

Questions to consolidate:

Homework:________________________________________________________________________________________________________________

Estimates, conclusions.

World significance and national originality of Russian literature of the 19th century. Your opinion about the works known to you on this issue. When studying which school topics can you use the methodology for solving the above problem?

In Russia in the 19th century, literature experienced an unprecedented rise and became an equal part of the cultural process. This era is usually characterized as the “golden age”, the time of the heyday of creativity and the emergence of philosophical thought, the formation of Russian literary language, which took shape largely thanks to A.S. Pushkin. Literary centrism is an important feature. From the works of writers of that time, we learn humanity, patriotism, and study our history. More than one generation of people - Humans - has grown up on this “classic”. Romanticism takes over artistic method, although at the end of the 30s of the XIX century leading place Realism will take over in literature.

Russian literature is distinguished by its humanity, purposefulness and humanity, striving to express its opinion. In Russia, philosophy is individual. One of the main problems is the problem of morality; each author has his own solutions to this problem. Moral issues became the main one and almost all Russians wrote and converged on the formation of high ideals. What is high in Russia is overcoming selfishness and individualism. And the high, active, heroic attitude is the most demanding for Russian writers. In Russia it has never been possible to live a separate destiny. Russian society is always collective. The Russian liter is characterized by moral choices for oneself and for the whole world. Russ the author showed life in community with the whole world. The epic nature of thinking is connected with this: Russian heroes always communicate with the nation; Gogol Tolstoy’s heroes. This soil was very good. favorable for the development of novels. Russ's novels had a great influence on the West. The heroes were colossal; they were not familiar to the reader; the Russians knew how to address the question of existence. But the essence is also the opposite moment when the authors penetrated into the national. In order to consider this issue in more detail, you can turn to Kasyanova’s work “Russian national character"in the book she says that it is typical for a Russian person value setting for example, the ability to achieve a goal. Russia and the West have different goals in life. The idea of cultivating high feelings and ideals is high, and high is selfishness.

The global significance of literature is closely related to national identity: romantics turn to national events, since the 19th century is the century of epoch-making events on a global scale (the War of 1812), these are changes in public consciousness, a pronounced spirit of patriotism. The reforms of 1861 lead to the polarization of social consciousness and the sense of personality finds its expression in the images of literature. For example, the era of Decembrism gives rise to the ideal of a free personality, thus the theme of a free personality becomes central. The activities of writers were not limited to their subjective spiritual world: they actively showed interest in public life, folklore works and interacted with foreign writers. Therefore, the literature of the 19th century has a global coverage of the entire socio-political life of that time and reflects the worldview of its era. National identity is reflected in the typology of portraits of people, generalization of their vices and pronounced personality traits: 1) In the center is a liter. 19 in the problem of growing a sense of personality: image young man does not satisfy the modern way of life 2). A.S. Pushkin and N.V. Gogol outlined the main artistic types that would be developed by writers throughout the 19th century. This artistic type“superfluous person”, an example of which is Eugene Onegin in the novel by A.S. Pushkin, and the so-called type “ little man", which is shown by N.V. Gogol in his story “The Overcoat”, as well as A.S. Pushkin in the story “The Station Agent”.

3).National atmosphere in literature, development of Russian national character
4).Condemnation by writers of the isolation of the intelligentsia from the people, as isolation from their roots. 5).ideal of personality - the relationship of one person with the existence of the entire people (lack of egocentrism, self-will)
6) the writer’s attention to the psychological and social analysis. You can also refer to Belinsky’s work on the Russian liter. At school this question can be used either introductory lessons Russian l 19th century. For example, maybe such a topic as thin liters as an art form