Boris Shergin. Scientific school of A.P.

Boris Viktorovich Shergin, Russian writer, storyteller, artist, was born on July 28 (16, according to the old style), 1896 (according to other sources - 1893) in Arkhangelsk, in a family of native Pomors, fishermen and shipbuilders. The Shergin family is very ancient and famous in the history of the North, most of its representatives were priests.

The life of Boris Shergin's parents, his own childhood and youth are connected with the City (so - with a capital letter - the writer called Arkhangelsk in his diaries) and with the sea. His memories of his parents, of his home are covered with happiness. A life full of love for each other, righteous labors, passion for "art", forever becomes for him the standard of life. Love for the art of the North - for folk poetry and Pomeranian "books", icon painting and wood painting, for music and words, for all the richest folk culture was born here. Even in his school years, Shergin began to collect and record northern folk tales, epics, and songs.

From 1903 to 1912 he studied at the Arkhangelsk male provincial gymnasium. In 1913 he went to Moscow and became a student at the Stroganov Central School of Industrial Art. His life was now divided between Moscow and the North, where he came on vacation. This period was extremely important for the formation of Shergin's creative personality, for the formation of his artistic self-awareness.

Meanwhile, in Moscow, Shergin was noticed. They appreciated not only his abilities as an artist, but also his excellent knowledge of the folk word, the ability to sing epics, and the talent of a storyteller. In 1915, he met the Pinega storyteller Marya Dmitrievna Krivopolenova, who was brought to Moscow by folklorists. The newspaper "Arkhangelsk" published an article by Shergin "Departing Beauty" - about Krivopolenova's speech at the Polytechnic Museum and the impression that she made on the audience. Shergin communicates with folklorists. In 1916, on the initiative of A.A. Shakhmatov, he was sent by the Academy of Sciences on a business trip to the Shenkur district of the Arkhangelsk province to study local dialects and record folklore.

In 1917, after graduating from college, the young man returned to Arkhangelsk and worked in the local Society for the Study of the Russian North, and then in handicraft and art workshops. His contribution to the revival of northern crafts (in particular, the Kholmogory bone carving technique) is recognized. Shergin was also engaged in archeographic work - he collected old books, albums of poems, song books, ancient sailing directions, notebooks of skippers.

In 1919, a misfortune happened to him - he fell under a tram and lost his right leg and toes of his left foot.

In 1922, Boris Viktorovich moved to Moscow and became an employee of the Institute for Children's Reading of the People's Commissariat for Education. He lived in the basement, poor, but gradually entered the literary life of the capital. In 1924, his first book was published - "Near the Arkhangelsk city, at the ship's shelter", designed by him. It contains recordings of texts and melodies of folklore northern ballads. But Shergin not only transcribes these texts and melodies, he transforms them, enhancing the poetic impression. And graceful illustrations are reminiscent of ancient Russian painting. The triple talent of the author - storyteller, writer, artist created an amazing integrity of the book.

After the release of the second book - a collection of fairy tales "Shish of Moscow" (1930) - Shergin becomes a member of the Writers' Union, a delegate to the First All-Union Congress of Soviet Writers (1934). He switches to professional literary work, speaks in various audiences, reading both folk tales, epics, ballads, and his own works written on the basis of folklore sources, impressed by the stories of fellow Pomors, memories of childhood and youth. The collections "Arkhangelsk Novels" (1936), "At Song Rivers" (1939) are published.

The book "Pomorshchina-Korabelshchina" (1947) appeared shortly after the release of the infamous party resolution on the magazines Zvezda and Leningrad and was subjected to a crushing defeat of semi-official critics. The author was accused of love for the old Pomeranian way of life, of conservatism, of lack of ties with modernity. Naturally, after that, the doors of all publishing houses closed before him. Shergin still lived in the basement, was half-blind (he could not actually read or write).

Only in 1957 was it possible to publish another book - “Pomeranian legends were also”; it was published in Detgiz with illustrations by the famous graphic artist V. Favorsky. In 1959, one of the most voluminous collections of the writer appeared - "Ocean Sea Russian", and in 1967 - the most complete of his lifetime publications - "Imprinted Glory".

In Shergin's homeland, in Arkhangelsk, a collection of his works "Gandvik - the icy sea", was first published only in 1971.

In the late 1970s and early 1980s, Shergin's books were published both in the capital and in Arkhangelsk quite often and in large numbers.

After his death, cartoons based on his fairy tales (“Magic Ring”, “Martynko” and others) made Shergin's name quite popular.

Boris Viktorovich Shergin was born on July 28 (July 16 O.S.), 1893. Shergin's father, a hereditary navigator and shipbuilder, passed on to his son the gift of a storyteller and a passion for any "art"; mother - a native Arkhangelsk, who introduced him to the folk poetry of the Russian North.

In the family, Shergin learned the first important lessons of relationships with the world and people, the labor code of honor of the northern Russian people. Since childhood, he comprehended the moral order, life and culture of Pomorie. He copied ornaments and headpieces from old books, learned to paint icons in the Pomeranian style, painted utensils; Even in his school years, he began to collect and record northern folk tales, epics, and songs. He studied at the Arkhangelsk male provincial gymnasium (1903-1912); graduated from the Stroganov Central School of Industrial Art (1917). He worked as an artist-restorer, was in charge of the artistic part of a craft workshop, contributed to the revival of northern crafts (in particular, the Kholmogory bone carving technique), was engaged in archeographic work (collected books of “ancient writing”, ancient sailing directions, notebooks of skippers, albums of poems, songbooks).

In 1922 he finally moved to Moscow; worked at the Institute of Children's Reading of the People's Commissariat of Education, spoke with stories about the folk culture of the North with the performance of fairy tales and epics in front of a diverse, mostly children's, audience. Since 1934 - in professional literary work.

The first publication is the essay "Departing Beauty" about the concert of M. D. Krivopolenova (newspaper "Arkhangelsk", 1915, November 21). During the life of the writer, 9 books were published (not counting reprints). In newspapers and magazines, Shergin published articles of a literary and art criticism nature, less often - literary works.

Creation

Shergin the storyteller and storyteller formed and became known earlier than Shergin the writer. His first book, By the Arkhangelsk City, by the Ship's Shelter (1924), consists of his recordings of six Arkhangelsk antiquities with the notation of melodies sung by his mother (and included in the repertoire of Shergin's own performances).

The transition from the solemnly sad antiquities of the first Shergin collection to the rudely mischievous humor of "Shish of Moscow" (1930) - "a buffoon epic about pranks on the rich and strong" is striking. Adventurous witty plots, juicy language, grotesque caricature depiction of representatives of the social elites connect Shergin's picaresque cycle with the poetics of folk satire.

In the third book - "Arkhangelsk Novels" (1936), which recreates the customs of the old bourgeois Arkhangelsk, Shergin appears as a subtle psychologist and writer of everyday life. The short stories of the collection, stylized in the style of the popular translated "histories" of the 17th-18th centuries, are dedicated to wanderings in the Overseas and the "cruel" love of characters from the merchant environment. The first three books by Shergin (designed by the author himself in the "Pomor style") represent the entire folklore repertoire of the Arkhangelsk Territory. The history of Pomorye, mediated in the first three books by Shergin through art, eloquence, and everyday life, appears in its direct form in his next collection, By Song Rivers (1939). In this book, the North of Russia appears as a special cultural and historical region that played a significant role in the fate of the country and occupies a unique place in its culture. Shergin's subsequent "elections" expand and refine this image.

Shergin himself called the book “Pomorshchina-Korabelshchina” (1947) published after the war his “repertoire collection”: it combines works with which he performed during the war years in hospitals and military units, clubs and schools. The fate of this collection is tragic: it was subjected to a vulgar sociological revision and provoked derogatory criticism from folklorists as "a crude stylization and perversion of folk poetry." The name of the writer was discredited, and he himself was doomed to ten years of isolation from the reader.

The destruction of the wall of silence around Shergin was facilitated by the writer’s creative evening organized in 1955 at the Central House of Writers, after which the collection “Pomorskie were and legends” (1957) was published by the publishing house “Children's Literature”, and after a while an “adult” collection was also published selected works "Ocean - Russian Sea" (1959). The collection caused a lot of rave reviews; The writer's verbal skill attracted the special attention of the reviewers. Deserved recognition came to Shergin after a high appreciation of his work in an article by L. M. Leonov (Izvestia. 1959, July 3).

The originality of Shergin's folklorism lies in the direct orientation of his texts to folk art. The goal of the artist is not to enrich literature at the expense of folklore outside of it, but to reveal folk poetry as an original, unique and invaluable way of seeing the world and man. The writer's texts contain an abundance of quotations from folklore texts (proverbs, sayings, excerpts from epics, lamentations, lyrical songs, fairy tales, etc.). Most of them are designed to be read aloud, and Shergin, who knew all his prose and poetry by heart, until the last years of his life often performed his works himself. For him, telling was not a reproduction of what had been created earlier, but the very process of creativity.

Major editions

• Near the city of Arkhangelsk, near the ship shelter. M., 1924.
• Shish Moscow. M., 1930.
• Arkhangelsk novels. Moscow: Soviet writer, 1936.
• By song rivers. M., 1939.
• Pomorshchina-ship. Moscow: Soviet writer, 1947.
• Pomeranian were also legends. / Engravings by V. A. Favorsky. Moscow: Detgiz, 1957.
• Russian ocean-sea: Pomor stories. M.: Young Guard, 1959. 350 p.
• Imprinted Glory: There were Pomeranian legends as well. M.: Soviet writer, 1967. 440 p.
• Gandvik - the icy sea. / Artist A. T. Nagovitsyn. Arkhangelsk: North-Western book publishing house, 1971. 208 p.

Screen versions of works

• Vanya Danish. Dir. N. Serebryakov. Comp. V.Martynov. USSR, 1974.
• Magic ring. Scene. Yuri Koval. Dir. L. Nosyrev. USSR, 1979.
• Danilo and Nenila: Dir. Y. Trofimov. Comp. V. Dashkevich. USSR, 1989-1990.
• Rain. Scene. Y. Kovalya, L. Nosyreva. Dir. L. Nosyrev. Artistic V. Kudryavtsev-Engalychev. USSR, 1978.
• Gilded foreheads. Scene. A. Khmelika. Dir. N. Serebryakov. Comp. E. Artemiev. USSR, 1971. Text read by O. Tabakov.
• Martynko. Dir. E. Nazarov. USSR, 1987. Roles are voiced by: L. Kuravlyov, N. Ruslanova, N. Kornienko.
• Mister Pronka. Based on the fairy tale by B. Shergin "Pronka Greznoy". Scene. Y. Kovalya, L. Nosyreva. Dir. L. Nosyrev. Artistic V. Kudryavtsev-Engalychev. USSR, 1991.
• Pinezhsky Pushkin. Scene. and post. L. Nosyreva. Artistic V. Kudryavtsev-Engalychev. Russia, 2000.
• Poiga and fox. Dir. N.Golovanova. Comp. N. Sidelnikov. USSR, 1978. Text read by I. Ryzhov.
• Pomeranian story. In the old days B. Shergin "For fun." Dir. L. Nosyrev. USSR, 1987.
• About Ersh Ershovich. Dir. S. Sokolov. USSR, 1979. Voiced by: F. Ivanov, L. Durov.
• Laughter and sorrow at the Bela Sea. Based on the works of S. Pisakhov and B. Shergin. Dir. L. Nosyrev. USSR, 1979-1987.
• Miracle Frost. Based on the northern tales of B. Shergin. Dir. Ts. Orshansky. USSR, 1976.
• Matveeva joy (1985)

Theatrical performances

The Moscow State Historical and Ethnographic Theater staged a performance based on the fairy tales "Shish of Moscow"

"ADMINISTRATIVE JURISDICTION"

The origins of the scientific school are Anatoly Pavlovich Shergin, Honored Scientist of the Russian Federation, Doctor of Law, Professor, Honorary Member of the Russian Academy of Law Sciences.

A. P. Shergin

A.P. Shergin was born on June 19, 1935 in the city of Aleysk, Altai Territory. In 1958 he graduated from the Faculty of Law of the Kazakh State University in Alma-Ata, after which he worked in educational and scientific institutions of the Ministry of Internal Affairs of the USSR and Russia. In 1965–1968 studied full-time adjuncture at the Higher School of the Ministry of Internal Affairs of the USSR, in 1969 he defended his Ph.D.

In 1983 he was awarded the title of professor, in 1999 he was awarded the honorary title of Honored Scientist of the Russian Federation. He has state awards, including the Order of Honor and the Order of Friendship. Scientific and teaching experience - 57 years, of which 45 years - work at the All-Russian Research Institute of the Ministry of Internal Affairs of Russia (USSR). Professor A.P. Shergin actively participates in the affairs of the scientific community, in the discussion of scientific problems, draft regulations, in parliamentary hearings, in the work of many international, all-Russian conferences, symposiums, round tables, and is one of the initiators of the creation of the Nebug Club of Administrators.

A.P. Shergin made a significant contribution to the development of a general theory of administrative law and administrative tort law. Scientific interests are mainly related to the research of legislation on administrative responsibility, administrative and jurisdictional activities of internal affairs bodies, its effectiveness. The conceptual ideas developed by him about administrative jurisdiction, administrative policy, administrative and tort law are reflected in legislative work, textbooks and other publications. In total, he personally and co-authored more than 200 scientific papers, including six monographs, five textbooks, numerous comments on the Code of Administrative Offenses of the RSFSR and the Code of Administrative Offenses of the Russian Federation, textbooks, articles. Scientific works of A.P. Shergin were published in China, Kazakhstan.

Scientific research of Professor A.P. Shergin is closely connected with the training of highly qualified lawyers and scientific personnel. Over the years, he taught at the Higher School of the Ministry of Internal Affairs of the USSR, Moscow State University, the Volgograd Higher Investigative School, the Academy of Economic Security of the Ministry of Internal Affairs of Russia, and the Moscow University of the Ministry of Internal Affairs of Russia.

During the existence of the scientific school, under the guidance of its founder and leader, 48 candidates and 12 doctors of legal sciences have been trained. The golden fund of the school consists of scientists: A. V. Gubanov, A. S. Dugenets, S. M. Zyryanov, A. V. Melekhin, N. P. Myshlyaev, M. I. Nikulin, N. V. Rumyantsev, S. A. Soinikov, Yu. V. Stepanenko, V. G. Tataryan, V. A. Tyurin, A. Yu. legislative and other normative legal acts, scientific change. Pupils of Anatoly Pavlovich work in many cities of Russia, the Republic of Kazakhstan and other CIS countries and continue the scientific traditions of the teacher.

N. P. Myshlyaev A. S. Dugenets V. A. Tyurin

The most significant achievements made at various stages of the development of the scientific school "Administrative Jurisdiction" in fundamental and applied scientific research are as follows.

Basic scientific research includes:

– development of the Concept of Administrative Jurisdiction, which laid the foundation for the scientific school (1974–1980). Studies of the doctrine of law enforcement, analysis of the legislation on administrative responsibility and the practice of its application made it possible to substantiate the conclusion about administrative jurisdiction as an activity focused on resolving conflicts in the public sphere. The main components of the Concept: concept, legal framework, content, subjects and procedural forms of administrative jurisdiction. The essence of this activity is the consideration of cases of administrative offenses and the adoption of decisions on them in the manner and forms established by law. It should be noted that the provisions of the Concept were further developed in the development of problems of administrative and jurisdictional activities of tax and customs authorities at the Russian Tax Academy, South Ural State University and other educational and research centers;

– development of a methodology for studying the effectiveness of administrative and legal sanctions and its approbation by studying the effectiveness of the administrative and jurisdictional activities of internal affairs bodies. Within its framework, for the first time, a conceptual model of the effectiveness of administrative-legal sanctions was defined as the degree to which its goals were achieved, a methodology and methodology for studying the effectiveness of these sanctions were developed, and a study was made of their effectiveness in the field of public order in several regions of the country. The development of this direction is associated with the works of I. I. Veremeenko, L. L. Popov, M. Ya. Savvin, A. P. Shergin;

- development of the doctrinal code of the RSFSR on administrative responsibility, which was first carried out within the framework of the scientific school. The need for such work is due to the critical state of the country's legislation on administrative responsibility, its fragmentation, different levels of regulation, etc. Academic Council of the All-Russian Research Institute of the Ministry of Internal Affairs of the USSR and at a meeting of the Scientific and Methodological Council of the Ministry of Internal Affairs of the USSR. Representatives of the scientific school participated in advising draft Codes of Administrative Offenses of all Union republics;

- development of the Concept of administrative-tort law, its main institutions, developed by Professor A.P. Shergin, which was a logical continuation of previous scientific developments and was due to the need to determine the status of the norms on administrative responsibility, first codified in 1984. The Concept was based on general theoretical criteria for the independence of the industry rights: subject, method, level of normative organization, as well as a scientific assessment of the current Code of Administrative Offenses of the Union republics. The author substantiates the conclusion that the set of norms governing administrative responsibility forms an independent branch of Russian law - administrative and tort law, its structure and main institutions, the layout of the curriculum;

- development of the Concept of the administrative policy of the Russian Federation, which was carried out by Professor A.P. Shergin and was further developed in the works of A.N. Deryuga, A.S. Dugenets, N.P. Myshlyaev, M.I. Nikulin, L.I. Pospelova and other researchers. Its necessity is due, first of all, to the scale of the application of administrative responsibility, the high level of social conflict of its application, the presence of a multi-subject law enforcement in this area, and the uncontrollability of extensive administrative and jurisdictional activities. The lack of evidence-based guidelines in this area of ​​law enforcement had a negative impact on both the quality and consistency of administrative tort legislation and the organization of administrative practice. The Concept defines the political vector of administrative policy, the means and mechanism for its implementation, as its main direction, the prevention of administrative delinquency is presented;

– development of the scientific foundations of administrative delictology, which is dictated by the need to clarify the determination of administrative delinquency and develop a theory for the prevention of numerous and diverse administrative offenses. The conceptual foundations of administrative delictology, the methodology for studying the causes of administrative offenses and the experimental verification of theoretical premises are presented in the works of A. N. Deryuga, N. P. Myshlyaev, M. I. Nikulin.

Fundamental developments have created opportunities for a wide range of applied scientific research, from participation in legislative work to issues of organizing the activities of internal affairs bodies (the police). The main ones are:

• participation in the first (1976-1984) and the second (1998-2002) codification of the legislation on administrative offenses. Participated in the working groups: a) on the preparation of the draft Code of Administrative Offenses of the RSFSR - M. I. Eropkin, L. L. Popov, A. P. Shergin; b) on advising draft Code of Administrative Offenses of all Union republics - L. L. Popov, A. P. Shergin; c) for the preparation of the draft Code of Administrative Offenses of the Russian Federation (2001) - A. S. Dugenets, A. Yu. Yakimov. School scientists have now initiated the third codification of administrative and tort legislation and are participating in the preparation of a new version of the Code of Administrative Offenses of the Russian Federation;
• participation in working groups in the preparation of drafts of the law of the Russian Federation "On the police" of 1991 (I.N. Zubov, A.P. Shergin), the federal law "On the police" of 2011 (A.S. Dugenets);
• participation in the development of other allied, RSFSR, Russian Federation draft legislative and other regulatory legal acts, including changes and additions to the Code of Administrative Offenses of the Russian Federation, orders of the Ministry of Internal Affairs of Russia on the administrative activities of the police, were taken by employees of the All-Russian Research Institute of the Ministry of Internal Affairs of the USSR, RSFSR, Russia within the framework of the scientific school .

One of the most important forms of introducing scientific developments into the law enforcement practice of internal affairs bodies and the educational process of educational institutions of the Ministry of Internal Affairs of Russia was the preparation of textbooks and manuals and numerous comments on legislation, including comments on the Code of Administrative Offenses of the RSFSR 1987; comments to the Code of Administrative Offenses of the Russian Federation, published from 2002 to the present, in the period from 1969 to the present, scientific research on various aspects of the administrative and jurisdictional activities of the internal affairs bodies (organization, computer science, professional training, efficiency, production according to cases of administrative offenses, execution of administrative penalties, etc.). Their results were reflected in the decisions of the collegium of the Ministry, orders of the Ministry of Internal Affairs of the RSFSR and Russia, methodological guidelines, in curricula (the course "Administrative and jurisdictional activities of internal affairs bodies" was introduced), in author's publications, presented in speeches at parliamentary readings and round tables, scientific and Methodological Council of the Ministry of Internal Affairs of the USSR, the Collegium of the Ministry of Internal Affairs of Russia, the Humanitarian Section of the Council of the Ministry of Internal Affairs of Russia on Science and Best Practices, scientific and practical conferences, are introduced into the administrative practice of the internal affairs bodies.

Administrative scientists of the All-Russian Research Institute of the Ministry of Internal Affairs of Russia contribute to the development of the science of administrative and administrative-tort law, to the improvement of administrative legislation and the practice of its application by internal affairs bodies.

Boris Viktorovich Shergin

Shergin Boris Viktorovich (07/16/1893 (according to archival data; Shergin's own indication of 1896 is a hoax) - 10/31/1973), writer, poet.

Shergin's father, a hereditary navigator and ship's master, passed on to his son the gift of a storyteller and a passion for any "art"; his mother is a native Arkhangelsk, who introduced him to the folk poetry of the Russian North ("Mother's craftswoman was to say ... like pearls, her word rolled out of her mouth"). In the family, Shergin learned the first important lessons of relationships with the world and people, the labor code of honor of the northern Russian people. Since childhood, he comprehended the moral order, life and culture of Pomorye: “marine knowledge” - through the fascinating stories of his father's friends - eminent ship carpenters, captains, pilots, hunters-industrialists; songs and fairy tales - from the Zaostrovsky peasant woman N. P. Bugaeva, a family friend and “housekeeper of the Shergins; copied ornaments and headpieces from old books, learned to paint icons in the Pomeranian style, painted utensils; still in his school years he began to collect and write down northern folk tales, epics, songs. He studied at the Arkhangelsk male provincial gymnasium (1903-12); graduated from the Stroganov Central School of Industrial Art (1917).

A serious interest in folklore was aroused in Shergin by acquaintance with the Pinega storyteller M. D. Krivopolenova, as well as with prominent folklorists brothers Yu. M. and B. M. Sokolov. During the years of study in Moscow, he performed as a performer of ballads and olden times of the Dvina land; at the invitation of Yu. M. Sokolov, he illustrated lectures on folk poetry at Moscow University with his singing. In 1916 he met Acad. A. A. Shakhmatov; on his initiative, he was sent by the Academy of Sciences on a business trip to Shenkursky district. Arkhangelsk province. to study local dialects and record folklore works.

Upon his return to Arkhangelsk (1918), he worked as an artist-restorer, headed the artistic part of a craft workshop, contributed to the revival of northern crafts (in particular, the Kholmogory bone carving technique), was engaged in archeographic work (collected books of "ancient writing", ancient sailing directions, skippers' notebooks, albums of poems, song books).

In 1922 he finally moved to Moscow; worked at the Institute of Children's Reading of the People's Commissariat of Education, spoke with stories about the folk culture of the North with the performance of fairy tales and epics in front of a diverse, mostly children's, audience. Since 1934 - in professional literary work.

The first publication is the essay "Departing Beauty" about the concert of M. D. Krivopolenova (newspaper "Arkhangelsk". 1915. November 21). During the life of the writer, 9 books were published (not counting reprints). In newspapers and magazines, Shergin published articles of a literary and art criticism nature, less often literary works.

Shergin - storyteller and storyteller was formed and became known earlier than Shergin the writer. His first book, By the Arkhangelsk City, by the Ship's Shelter (1924), consists of his recordings of six Arkhangelsk antiquities with the notation of melodies sung by his mother (and included in the repertoire of Shergin's own performances).

The transition from the solemnly sad antiquities of the first Shergin collection to the rudely mischievous humor of "Shish of Moscow" (1930) - "a buffoon epic about pranks on the rich and strong" is striking. Adventurous witty plots, juicy language, grotesque caricature depiction of representatives of the social elites connect Shergin's picaresque cycle with the poetics of folk satire. "Shish of Moscow" was destined to become the writer's most famous book: in 1932-33, Shergin's fairy tales performed by the author were broadcast on Moscow radio and were a huge success with listeners.

In the third book - "Arkhangelsk short stories" (1936), which recreates the customs of the old bourgeois Arkhangelsk, Shergin appears as a subtle psychologist and writer of everyday life. The short stories of the collection, stylized in the style of popular translated "histories" of the 17th-18th centuries, are dedicated to wanderings in the Overseas and the "cruel" love of characters from the merchant environment.

The first three books by Shergin (designed by the author himself in the “Pomor style”) represent the entire folklore repertoire of the Arkhangelsk Territory. But the degree of the author's dependence on the folklore source decreases with each new book, so that Shergin's indispensable reference to such a source becomes nothing more than an expression of the author's modesty.

The history of Pomorye, mediated in the first three books by Shergin through art, eloquence, and everyday life, appears in its direct form in his next collection, By Song Rivers (1939). This collection includes historical and biographical Pomeranian stories, folk talk about the leaders of the revolution and the remarkable people of the country, their legendary and fabulous biographies. Despite the obvious subordination of laudatory "tales about leaders" to a political order, they do not determine the general artistic level of the collection, in which the "strength and favor" of the Sherga word reaches a truly classical height. For the first time, Pomorie reveals its expanses, soul, and history in such a wide and sonorous way: a detailed panorama of the Dvina land, its riches and expanses, a heartfelt sketch of the Pomeranian way of life, vivid stories about the heroic work of the Pomors. Labor is Shergin's favorite area of ​​artistic depiction. Through work, the history and soul of the northern people are revealed, the dignity and beauty of an individual person are manifested in work.

In the book "At Song Rivers", the North of Russia appears as a special cultural and historical region that played a significant role in the fate of the country and occupies a unique place in its culture. Shergin's subsequent "elections" expand and refine this image.

Shergin himself called the book “Pomorshchina-Korabelshchina” (1947) published after the war his “repertoire collection”: it combines works with which he performed during the war years in hospitals and military units, clubs and schools. The fate of this collection is tragic: it was subjected to a vulgar sociological revision and provoked derogatory criticism from folklorists as "a crude stylization and perversion of folk poetry." The name of the writer was discredited, and he himself was doomed to ten years of isolation from the reader.

The destruction of the wall of silence around Shergin was facilitated by the writer’s creative evening organized in 1955 at the Central House of Writers, after which the collection “Pomorskie were legends” (1957) was published by the publishing house “Children’s Literature” (1957), and after a while an “adult” collection of selected works was also published. "Ocean - Russian Sea" (1959). The collection caused a lot of rave reviews; The writer's verbal skill attracted the special attention of the reviewers. Deserved recognition came to Shergin after a high assessment of his work in an article by L. M. Leonov (Izvestia. 1959. July 3).

In the work of Shergin, two main manners of narration are very clearly distinguished: pathetic and everyday. The first one is used by the writer in describing the majestic nature of the North and the glorious deeds of its people, including a wide range of positive idealizing means, and is associated with the tradition of ancient Russian hagiography and folklore epic. The second, characteristic of Shergin's essay on morals and household tale, is clearly oriented towards skaz - phonetic, lexical, syntactic imitation of oral speech. The "everyday", unvarnished character of the language is given by Shergin's use of reduced vernacular and vulgarisms; wide borrowing of "verbal pearls" - dialectal features of the Russian North; an abundance of well-aimed comparisons (akin to the associativity of folk speech) and witty figurative words; speech polyphony. The language of Shergin's works contains professional dictionaries of shipbuilders, sailors, fishermen, and Pomorye artists. The writer's prose uniquely combines a high literary tradition (in all the variety of cultural associations that lived in the minds of well-read Pomors at the turn of the 19th-20th centuries) and a fundamental relationship with folklore, often openly manifested. According to V. I. Belov, "one Shergin ... managed so successfully, so naturally to make the spoken word related to the book."

The originality of Shergin's folklorism lies in the direct orientation of his texts to folk art. The goal of the artist is not to enrich literature at the expense of folklore that is outside of it, but to reveal folk poetry as an original, unique and invaluable way of seeing the world and man, to contribute to the “booking” of folklore. The writer's texts contain an abundance of quotations from folklore texts (proverbs, sayings, excerpts from epics, lamentations, lyrical songs, fairy tales, etc.). Most of them are designed to be read aloud, and Shergin, who knew all his prose and poetry by heart, until the last years of his life often performed his works himself. For him, telling was not a reproduction of what had been created earlier, but the very process of creativity.

A. Kharitonov

Used materials from the site Great Encyclopedia of the Russian people - http://www.rusinst.ru

Shergin Boris Viktorovich - prose writer, poet.

Father Shergin, a hereditary navigator and shipbuilder, passed on to his son the gift of a storyteller and a passion for any "art"; his mother, a native of Arkhangelsk, introduced him to the folk poetry of the Russian North ("Mother's craftswoman was to say ... like pearls, her word rolled out of her mouth"). In the family, Shergin learned the first important lessons of relationships with the world and people, the labor code of honor of the northern Russian people. Since childhood, he comprehended the moral order, life and culture of Pomorye: “marine knowledge” - through the fascinating stories of his father's friends - eminent ship carpenters, captains, pilots, hunters-industrialists; songs and fairy tales - from the Zaostrovskaya peasant woman N.P. Bugaeva, a family friend and "housekeeper" of the Shergins; copied ornaments and headpieces from old books, learned to paint icons in the Pomeranian style, painted utensils; still in his school years he began to collect and write down northern folk tales, epics, songs. He studied at the Arkhangelsk male provincial gymnasium (1903-12); graduated from the Stroganov Central School of Industrial Art (1917).

A serious interest in folklore was aroused in Shergin by acquaintance with the Pinega storyteller M.D. Krivopolenova, as well as with prominent folklorist brothers Yu.M. and B.M. Sokolov. During the years of study in Moscow, he performed as a performer of ballads and olden times of the Dvina land; at the invitation of Yu.M. Sokolov, he illustrated lectures on folk poetry at Moscow University with his singing. In 1916 he met Academician A.A. Shakhmatov; on his initiative, he was sent by the Academy of Sciences on a business trip to the Shenkur district of the Arkhangelsk province. to study local dialects and record folklore works.

Upon his return to Arkhangelsk (1918), he worked as an artist-restorer, headed the artistic part of a craft workshop, contributed to the revival of northern crafts (in particular, the Kholmogory bone carving technique), was engaged in archeographic work (collected books of "ancient writing", ancient sailing directions, skippers' notebooks, albums of poems, song books).

In 1922 he finally moved to Moscow; worked at the Institute of Children's Reading of the People's Commissariat for Education, spoke with stories about the folk culture of the North and performed fairy tales and epics in front of a diverse, mostly children's, audience. Since 1934 - in professional literary work.

The first publication is the essay "Departing Beauty" about the concert of M.D. Krivopolenova in the newspaper "Arkhangelsk" (1915. November 21). During the life of the writer, 9 books were published (not counting reprints). In newspapers and magazines, Shergin published articles of a literary and art criticism nature, less often - literary works.

Shergin - storyteller and storyteller was formed and became known earlier than Shergin the writer. His first book, By the Arkhangelsk City, by the Ship's Shelter (1924), consists of his recordings of six Arkhangelsk antiquities with the notation of melodies sung by his mother (and included in the repertoire of Shergin's own performances).

The transition from the solemnly sad antiquities of the first Shergin collection to the rudely mischievous humor of "Shish of Moscow" (1930) - "a buffoon epic about pranks on the rich and strong" is striking. Adventurous witty plots, juicy language, grotesque caricature of representatives of the social elites connect Shergin's picaresque cycle with the poetics of people's democratic satire. "Shish of Moscow" was destined to become the most famous book of the writer: in 1932-33, Shergin's fairy tales performed by the author were broadcast on Moscow radio and were a huge success with listeners.

In 1934 Shergin was delegated to the First All-Union Congress of Writers from the Moscow organization; became a member of the Union of Soviet Writers from the moment of its foundation.

In the third book - "Arkhangelsk short stories" (1936), which recreates the customs of the old bourgeois Arkhangelsk, Shergin appears as a subtle psychologist and writer of everyday life. The short stories of the collection, stylized in the style of popular translated "histories" of the 17th-18th centuries, are dedicated to wanderings in the Overseas and the "cruel" love of characters from the merchant environment.

The first three books by Shergin (designed by the author himself “in the Pomor style”) represent in full the folklore repertoire of the Arkhangelsk Territory. But the degree of the author's dependence on the folklore source decreases with each new book, so that Shergin's indispensable reference to such a source becomes nothing more than an expression of the author's modesty.

The history of Pomorye, mediated in the first three books by Shergin through art, eloquence, and everyday life, appears in its direct form in his next collection, By Song Rivers (1939). This collection includes historical and biographical Pomeranian stories, folk talk about the leaders of the revolution and the remarkable people of the country, their legendary and fabulous biographies. Despite the obvious subordination of laudatory "tales about leaders" to a political order, they do not determine the general artistic level of the collection, in which the "strength and favor" of the Sherga word reaches a truly classical height. For the first time, Pomorie reveals its expanses, soul, and history in such a wide and sonorous way: a detailed panorama of the Dvina land, its riches and expanses, a heartfelt sketch of the Pomeranian way of life, vivid stories about the heroic work of the Pomors. Labor is Shergin's favorite area of ​​artistic depiction. Through work, the history and soul of the northern people are revealed, the dignity and beauty of an individual person are manifested in work.

In the book "At Song Rivers", the North of Russia appears as a special cultural and historical region that played a significant role in the fate of the country and occupies a unique place in its culture. Shergin's subsequent "elections" will expand and refine this image.

Shergin himself called the book “Pomorshchina-Korabelytsina” (1947) published after the war his “repertoire collection”: it combines works with which he performed during the war years in hospitals and military units, clubs and schools. The fate of this collection is tragic: it was subjected to a vulgar sociological study (Morozov A. [Rec.] // Zvezda. 1947. No. 9) and caused derogatory criticism from folklorists as "a crude stylization and perversion of folk poetry" (V. Sidelnikov vs. vulgarization of folk art // Culture and life. 1947. No. 30). The name of the writer was discredited, and he himself was doomed to ten years of isolation from the reader.

The destruction of the wall of silence around Shergin was facilitated by the writer's creative evening organized in 1955 at the Central House of Writers, after which the collection of books was published in the publishing house "Children's Literature". “There were Pomeranian legends” (1957), and after a while an “adult” collection of selected works “Ocean - Russian Sea” (1959) was released. The collection caused a lot of rave reviews; The writer's verbal skill attracted the special attention of the reviewers. Deserved recognition came to Shergin after a high assessment of his work in an article by L.M. Leonov (Izvestia. 1959. June 3). Among the responses to this collection, we also find the deepest lifetime literary analysis of Shergin's work - an article by the folklorist E.V. Pomerantseva "Writer-storyteller" (At the turn. 1960. No. 5).

In the work of Shergin, two main manners of narration are very clearly distinguished: pathetic and everyday. The first one is used by the writer in describing the majestic nature of the North and the glorious deeds of its people, it includes a wide range of positively idealizing stylistic means and is associated with the tradition of ancient Russian hagiography and folklore epic. The second, characteristic of Shergin's essay on morals and household tale, is clearly oriented towards skaz - phonetic, lexical, syntactic imitation of oral speech. The "everyday", unvarnished character of the language is given by Shergin's use of reduced vernacular and vulgarisms; wide borrowing of "verbal pearls" - dialectal features of the Russian North; an abundance of well-aimed comparisons (akin to the associativity of folk speech) and witty figurative words; speech polyphony. The language of Shergin's works contains professional dictionaries of shipbuilders, sailors, fishermen, and Pomorye artists. The writer's prose uniquely combines high lit. tradition (in all the variety of cultural associations that lived in the minds of well-read Pomors at the turn of the 19th-20th centuries) and a fundamental relationship with folklore, often openly manifested. According to V.I. Belov, "one Shergin ... managed so successfully, so naturally to make the spoken word related to the book."

The originality of Shergin's folklorism lies in the direct orientation of his texts to folk art. The goal of the artist is not to enrich literature at the expense of folklore outside of it, but to reveal folk poetry as an original, unique and invaluable way of seeing the world and man, to contribute to the “booking” of folklore. The writer's texts contain an abundance of quotations from folklore texts (proverbs, sayings, excerpts from epics, lamentations, lyrical songs, fairy tales, etc.). Most of them are designed to be read aloud, and Shergin, who knew all his prose and poetry by heart, until the last years of his life often performed his works himself. For him, telling was not a reproduction of what had been created earlier, but the very process of creativity.

Shergin was buried at the Kuzminsky cemetery in Moscow.

A.A. Kharitonov

Used materials of the book: Russian literature of the XX century. Prose writers, poets, playwrights. Biobibliographic dictionary. Volume 3. P - Ya. 708-710.

Read further:

Russian writers and poets(biographical guide).

Compositions:

Pomeranian were also legends. M., 1971;

Favorites. M., 1977;

poetic memory. M., 1978;

Imprinted Glory. M., 1983;

Leads and stories. L., 1984;

Ancient memories. M., 1989;

Graceful craftsmen. M., 1990;

Living life: From the diaries of different years. M., 1992;

Diaries (1942-1968) // Moscow. 1994. No. 4.5.

Literature:

Galkin Yu.F. Boris Shergin. Golden chain. M., 1982;

Gorelov A.A. Pomor pattern // Shergin B.V., Pisakhov S.G. Tales and fairy tales. M., 1985. S.6-15;

Galimova E.Sh. Book about Shergin. Arkhangelsk, 1988.