"The theme of the Russian village in one of the works of modern Russian literature (on the example of V. Shukshin's story "Cut off")

Vasily Makarovich Shukshin was born in 1929 in Altai into a peasant family. Military childhood, work on a collective farm, attempts to settle in the city, changing many working professions - all this tempered the character of the future writer and enriched him with invaluable life experience. In 1954, Shukshin entered VGIK, met director I. Pyriev, studied at the workshop of M. Romm and S. Gerasimov, on the same course as Andrei Tarkovsky. He worked as an actor and director, was awarded many awards for his cinematic activities. In parallel with the main work, he began to write stories.

Shukshin became one of the creators of rural prose. The writer published his first work, the story "Two on a Cart", in 1958. Then, during fifteen years of literary activity, he published 125 stories. In the collection of short stories "Villagers", the writer included the cycle "They are from the Katun", in which he spoke with love about his fellow countrymen and his native land.

The writer's works differed from what Belov, Rasputin, Astafiev, Nosov wrote within the framework of rural prose. Shukshin did not admire nature, did not go into long discussions, did not admire the people and village life. His short stories are episodes snatched from life, short scenes where the dramatic is interspersed with the comic.

The heroes of Shukshin's village prose often belong to the well-known literary type of the "little man". The classics of Russian literature - Gogol, Pushkin, Dostoevsky - more than once brought out similar types in their works. The image remained relevant for rural prose. While the characters are typical, Shukshin's heroes are distinguished by an independent view of things, which was alien to Akaky Akakievich Gogol or Pushkin's stationmaster. Men immediately feel insincerity, they are not ready to submit to fictitious city values. Original little people - that's what Shukshin did.

In all his stories, the writer draws two different worlds: a city and a village. At the same time, the values ​​of the first poison the second, violating its integrity. Shukshin writes about the opportunism of the townspeople and spontaneity, an open look at the world of the village peasants.

The protagonist of the story "Freak" is Vasily Knyazev, a thirty-nine-year-old mechanic. Shukshin's manner of beginning his stories is remarkable. There is no introduction as such, the writer immediately brings the reader up to date: “The wife called him - Freak. Sometimes kindly. The weirdo had one feature: something constantly happened to him. The speaking name tells us that the hero is different from other people, his behavior is atypical. Examples and event outline only confirm this fact. At the same time, many episodes of the stories, including the Freak, are autobiographical. Shukshin describes events from his own life, the realities known to him, talks about his native land for the writer. For example, a strange case when Chudik drops money and then cannot pick it up happened to Shukshin himself.

The eccentric is strange for city dwellers, the attitude of his own daughter-in-law towards him borders on hatred. At the same time, the unusual, immediacy of Chudik and people like him, according to Shukshin's deep conviction, makes life more beautiful. The author talks about the talent and beauty of the soul of his weirdo characters. Their actions are not always consistent with our usual patterns of behavior, and their values ​​are amazing. He falls out of the blue, loves dogs, marvels at human malice, and as a child wanted to become a spy.

About the people of the Siberian village the story "Villagers". The plot is simple: the family receives a letter from their son with an invitation to come to visit him in the capital. Grandmother Malanya, grandson of Shurk and neighbor Lizunov represent such a trip as a truly epoch-making event. Innocence, naivety and spontaneity are visible in the characters of the heroes, they are revealed through a dialogue about how to travel and what to take with you on the road. In this story, we can observe the skill of Shukshin in terms of composition. If in "The Freak" it was about an atypical beginning, then here the author gives an open ending, thanks to which the reader himself can complete and think out the plot, give assessments and sum up.

It is easy to see how carefully the writer relates to the construction of literary characters. Images with a relatively small amount of text are deep and psychological. Shukshin writes about the feat of life: even if nothing remarkable happens in it, it is equally difficult to live every new day. Material from the site

The material for the film "Such a guy lives" was Shukshin's story "Grinka Malyugin". In it, a young driver performs a feat: he takes a burning truck into the river so that barrels of gasoline do not explode. When a journalist comes to the hospital to see the wounded hero, Grinka is embarrassed by words about heroism, duty, and saving people. The striking modesty of the character borders on holiness.

All of Shukshin's stories are characterized by the manner of speech of the characters and a bright, rich stylistically and artistic style. Various shades of live colloquial speech in Shukshin's works look in contrast to the literary clichés of socialist realism. The stories often contain interjections, exclamations, rhetorical questions, marked vocabulary. As a result, we see natural, emotional, living characters.

The autobiographical nature of many of Shukshin's stories, his knowledge of rural life and problems gave credibility to the troubles that the author writes about. The opposition of the city and the countryside, the outflow of young people from the village, the dying of villages - all these problems are widely covered in Shukshin's stories. He modifies the type of a small person, introduces new features into the concept of the Russian national character, as a result of which he becomes famous.

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On this page, material on the topics:

• depiction of folk life in Shukshin's stories
• what Shukshin writes about in his stories
• What did Shukshin's freaks bring to Russian prose?
• 53. The image of the life of the Russian village and folk character in the works of V.M. Shukshina
• the image of a little man in the prose of V.N. shukshina

RUDN Journal of Studies in Literature and Journalism

2017Vol. 22 No. 1 76-83

http://journals.rudn.ru/literary-criticism

Bulletin of RUDN University. Series: Literary criticism. Journalism

UDC 821.161.1 821.21

DOI 10.22363/2312-9220-2017-22-1-76-83

THE DICHOTOMY OF "TOWN AND VILLAGE" IN THE STORIES OF V.M. Shukshin and Pkhanishvarnatha Renu

This article provides a comparative analysis of the dichotomy "city and village" in the stories of the famous Russian writer V.M. Shukshin and the Indian writer Panishvarnath-ha Renu. Taking into account the typological similarities between Russia and India in the second half of the 20th century, the author considers similar and peculiar features in the depiction of the problem of the city and the countryside in the stories of Shukshin and Renu.

Keywords: dichotomy, city, village, typological similarities

Any comprehensive, chronological and analytical study of the fiction of one country is unthinkable without studying the development of world literature in the same period. A comparative study of similar processes taking place in different national literatures "allows a deeper approach to the knowledge of the complex unity of the world historical process, to understanding some of the laws of social and artistic development" . In this regard, the Soviet comparativist I.G. Neupokoeva notes that such a comparative study "gives the possibility of a broader formulation of a number of important questions in the history and theory of literature, the consideration of which on the basis of individual national or regional literatures cannot lead to fruitful results." A comparative study of the stories of two famous village writers V.M. Shukshin and Phanishvarnath-ha Renu makes it possible to trace the dichotomy "city and village" in the literatures of Russian and Hindi.

The main purpose of this scientific article is a comparative study of the dichotomy "city and village" in the stories of Vasily Shukshin and Pkhanishvarnath Renu and consideration of this topic in interdependence with the socio-cultural context. It is interesting to note that there was much in common between Shukshin's Russia and Renu's India in the 1940s and 1960s. The socio-political situation in Russia and India bore similar features. Russia after the Second World War in 1945 and India after gaining its independence from British colonialism in 1947 faced problems related to the social reorganization of society.

S.K. Thakur

Center for Russian Studies University. Jawaharlal Nehru Delhi, India, 110067

In the 1950s and 1960s, both countries paid great attention to the city, industrial development and scientific and technological progress. As a result, the village became backward and the city advanced a lot technologically. Villages, village people and peasants were deprived of the attention of society. Industrialization has caused mass exodus or migration from the countryside to the city. Villages began to empty, and young village people rushed to the city. With the growth of urbanization in the second half of the 20th century, such global problems as the migration of peasants to cities, social conflicts between urban and rural residents appeared, which are reflected in the stories of V.M. Shukshin and Panishvarnath Renu. That is why the work of these two writers reflects largely similar themes and problems, despite the fact that there was no direct contact between these two writers.

The dichotomy "town and country" in the stories of V.M. Shukshina

Consider such stories of the writer, in which the social conflict between the city and the countryside is manifested. We choose two stories as an example, namely "The wife of her husband saw off to Paris" and "I choose a village to live in."

The split between the cultures of urban and rural residents is very successfully conveyed by Shukshin in the story "The wife of her husband saw off to Paris." The hero of Kolka’s story is “a charming guy, gray-eyed, with slightly high cheekbones, with a linen chubarik-forelock. Although not tall, but some very reliable, strong Siberian. However, this "strong Siberian" commits suicide. Unsuccessful family life forced him to take this extreme step.

The conflict is not new. Aren't there bad marriages? But when we try to find out the cause of this family discord, we learn that in this case it is not quite ordinary. The tragedy lies in the difference between urban and rural cultures. Kolka lives in Moscow. He lives in the city because his wife does not want to move to the countryside. He is unhappy, because he is constantly overcome by longing for the countryside, for peasant work. Kolka dreams of returning to a past life, to a village life. At a city exhibition, for example, “Kolka liked to watch agricultural machines, stood idle in front of tractors, seeders, mowers for a long time ... Thoughts from the machines jumped to his native village, and his soul began to hurt.” He dreams: "I would like such a small tractor, a small combine harvester and ten hectares of land ...".

If not for his little daughter, he would have left Moscow long ago and moved to the countryside. And his mother would not have allowed him to return to the village alone. She would say: “It is a great sin to leave a dear child ...”. She would cry and beg him to come back. And he can't live in the city.

His dream of finishing ten years at night school did not come true. His wife, a dressmaker, loves money very much, and Kolka is forced to work as a loader in a trading network. With loaders and traders, he began to drink. He understands that “the way he lives is not life, it is something very ridiculous, shameful, vile .... Hands have lost the habit of work, the soul dries up - it is fruitlessly spent on petty, vindictive, caustic feelings ... What's next? Further - bad. And in order not to peer into this disgusting "further", he began to think about his village, about ma-

Teri, about the river... I thought at work, I thought at home, I thought during the day, I thought at night. And I couldn’t think of anything, I just poisoned my soul, and I wanted to drink ... ".

To spite his wife, he arranges concerts in the courtyard on Saturdays: he brings out a three-row with raspberry fur, sings, dances, etc. He does everything on purpose to piss off his wife; Valyusha, his wife, hates her husband for these concerts.

Kolka's solution to the conflict reminds us of a story that M. Gorky told in his article about S. Yesenin, written in 1927. In this article, M. Gorky compares the fate of Yesenin with the fate of one Polish boy, a peasant who "somehow , got to Krakow and got confused in it. He circled the streets of the city for a long time and still could not get out into the expanse of the field, familiar to him. And when he finally felt that the city did not want to let him out, he knelt down, prayed and jumped from the bridge into the Vistula, hoping that the river would carry him to the desired space.

The death of Kolka is the result of a conflict between urban and rural cultures. In this story, this conflict between the two cultures is very sharp, has a shade of drama and ends tragically.

The chronotope of Shukshin's stories reflects one of the most important problems of Soviet history and literature: the problem of the contradiction between the city and the countryside. Shukshin's prose depicts a time of significant demographic change after World War II, when many rural people began to migrate from the countryside to the growing cities. In the chronotope, as M.M. Bakhtin, “space is intensified, drawn into the movement of time, plot, history.” For Shukshin and his heroes, the distance from the city to the village is a space that deepens the class difference, the difference in culture, language, worldview and the standard of living of the city and the countryside.

“I choose a village to live in” is another story where the village is opposed to the city. In this story, Shukshin frankly expresses disapproval of the urban way of life. The protagonist of the story, Nikolai Grigorievich, soon realized that in the city you can live in clover, without straining, you can find a warm place and live quietly, peacefully. Introducing his hero, who came to the city from the countryside in the early 1930s, Shukshin writes: “At first he yearned in the city, then he took a closer look and realized: if you have a little ingenuity, cunning, and if you don’t get especially screwed up, then it’s not necessary to dig these pits you can live easier."

He worked as a storekeeper all his life, and even in the harsh years of the war he did not feel the need, he dragged everything slowly and little by little, so as not to feel a lack of anything. As the author writes, he stole from warehouses "as much as was required so as not to lack anything." The conscience of Nikolai Grigorievich did not bother him. You can’t accuse him of stealing, but he didn’t become a person needed by society either. He lived all his life for himself, away from everything. He did not become a man in the city, but you can no longer call him a villager, he turned out to be superfluous everywhere.

However, this hero in his declining years had one oddity, “which he himself would not have been able to explain to himself, probably, even if he wanted to. But he did not want to explain and did not particularly think about it, but obeyed this whim ", and

this oddity manifests itself in the fact that during the last five or six years, every Saturday after work, he goes to the station, enters into conversations with the waiting village people and meticulously asks them about the village.

He assures that he wants to live in peace in his old age, away from the noise of the city. Every village dweller tries to praise his village, tries to prove that his village is more beautiful, better than others, that the people there are more honest and better. They are happy to tell Nikolai different stories, where amazing human disinterestedness is revealed.

Comparing the urban lifestyle with the rural one, all the villagers unanimously express disapproval of the fact that in the city there are a lot of rude, angry, insulting people. Nikolai Grigoryevich agrees with everyone and shouts: “After all, why do I want to leave! .. That's why I want something - there is no more patience ... Such a life turns my whole soul!” .

As Shukshin writes, it was clear to the hero that life in the city “... this is not life, such a life, and a two-room section, it’s better to buy a hut in the village and live out your days in peace, live them with dignity, humanly.” His behavior at the station seems strange. Nikolai Grigoryevich himself could not explain to himself why he needs this, because he is not going to leave a comfortable city apartment, city convenience and go to the village. He did not keep anything like that in his head, but now he could no longer avoid going to the station - it had become a need.

Although neither the author nor the hero explains the reason for this whim, it is obvious that the hero yearns for the past, for the village, for those human values ​​that he lost during his stay in the city. His village interlocutors at the station understand him and agree that “no matter how much you hang around the cities, and if you are a villager, then sooner or later you will be drawn to the village again.” Of course, Nikolai can no longer give up city life, since he has already got used to it, and therefore he will never return to the village. But at the same time, it is felt that the village is pulling him and he cannot tear himself away from it. In this regard, critic N. Leiderman notes that “Shukshin's hero is at a crossroads. He already knows how he does not want to live, but he does not yet know how to live. Not only the writer's hero, but Shukshin himself was also at a crossroads. “So it happened to me by the age of forty that I was neither urban to the end, nor rural already. Terribly uncomfortable position. It's not even between chairs, but rather like this: one foot on the shore, the other in the boat. And you can’t help but swim, and it’s kind of scary to swim ... ".

Dichotomy "town and country" in the stories of Phanishwarnath Renu

The problem of the collision of the city and the countryside occupies a special place in the stories of the Indian writer Renu. Here we will analyze the stories of the writer, which most clearly reflect the conflict between the city and the countryside. For analysis, we choose such stories as "Vyghatan ke kshan" ("The Moment of Decay") and Uchchatan ("Under the Root").

Due to rapid urbanization and industrial development, Indian villages are currently struggling to survive. The village turns into a town or city

close to the village? Renu uses this motif in the stories "Vyghatan ke kshan" ("The Moment of Decay") and "Uchchatan" ("Under the Root"), in which he masterfully portrays this problem. As is clear from the title of the story “The Moment of Decay”, the author in this story shows the disintegration of the village due to urbanization and industrialization.

The story "The Moment of Decay" tells about a rural girl, Vija, who finds it very difficult to break ties with her homeland and leave for the city of Patna. The story depicts a family living in a palace. Rameshwar Chaudhary is a member of the legislature in Patna, he is the sole owner of the palace. He lives with his family in the city and has no time to visit the countryside. The older brother died long ago. The daughter-in-law also recently died. His daughter is already 17 years old, and he dreams of marrying her to a worthy person.

Rameshwar, succumbing to the general desire, calls Viju to the city, where he marries her to a city dweller. Now Vijya feels like a bird in a "golden cage", but asks to let her go to the village at least once to see her friend Churmu-nia. The images of Vidzhi, her husband and friend Churmuniya illustrate the complex relationship between the city and the countryside in the story.

At the beginning of the story, Vija arrives in the village seven or eight years after leaving. She is very disappointed. The village is devastated and disintegrates, young people tend to leave for the city. No one but her little friend Churmuniya experiences such heartache. Vijya thinks that although she has not been here and has come to the village after many years, she still loves her village very much, is proud of her village origin and does not want to leave for the city. She is afraid to even think about the upcoming move. She has only one desire - to spend her life in her homeland, in the village, in her parents' house.

Little Churmunia understands Viju and advises her not to marry a city man. Hearing her request, Vijya laughs and wants to know the reason. Churmunia replies that the city dweller does not understand the village dweller and will never allow her to go to the village: “In the case when a village peasant leaves his homeland and goes to the city, will he allow his wife to go to the village?” .

Meanwhile, Viju's uncle married Viju to a townsman. However, family relations did not improve. The reason for family discord lies in the difference between urban and rural cultures. Separation from the village, from a girlfriend became the cause of longing for the past village life. She fell ill and asked for only one thing - to go to the village to see her friend before her death. But Viji's husband does not allow her to go to the village. Being a city man, he does not understand his wife. He suspects that his wife has a lover. The story ends tragically - Vijya goes crazy.

One of the writer's most popular stories, "Uchchatan" ("Under the Root"), also depicts the problem of the city and the countryside. In this story, Renu beautifully and realistically depicts the poverty of the Indian peasant, especially his helpless and hopeless position before the landowner. The hero of the story, Ram-vilas, drives a cycle rickshaw in the city. He came to the city to pay off the landowner. It is difficult to get a job in the countryside, if it does appear, then the salary is meager, and besides, greedy usurers oppress them.

He returned to the village two years later, having earned some money. He paid the entire debt to the landowner. In the village, a wealthy fellow villager began to be treated differently. All the village peasants were curious how he managed to earn such a large amount of money in just two years, which a peasant earns with difficulty in ten years. Everyone listens to his urban fantasies and stories. Many young people, having heard his stories, decided to follow in his footsteps. One of them asks Ramvilas: “Brother Ramvilas, this time I will also go with you... Me too! Me too!! Me too!!! In the countryside, we plow the land for only one hundred and eight rupees for a whole year, but in the city, in just a month, you can earn two hundred?” .

However, as the time for departure to the city approaches, he feels that he cannot live without his beloved wife and mother. He realizes that he cannot leave the village. Although it is difficult to earn money in the countryside, he realizes that he is happier among his family and village friends. In addition, in the city money is obtained with great difficulty, you have to waste strength, energy, and sacrifice health for it. In the end, the hero leaves the idea of ​​moving to the city, he chooses a village to live in. He thinks: “What is there in the city? So much blood must be shed to make money. It's better in our countryside." The Indian writer Renu sees the city not only as a symbol of capitalism and industrialization, but also as a hotbed of empty and artificial life.

It is interesting to note that if in some of Shukshin's stories young people from rural areas aspire to the city, then the hero Renu acts in a completely different way. He does not want to leave his homeland, the village and go to the city for the sake of a luxurious life. He has no land, it is also difficult for him to earn money, but nevertheless he firmly decided not to leave for the city. Peace of mind is more valuable than material prosperity. The heroes of Renu's stories want to live a rich spiritual life in the countryside, and in the city

they suffocate and feel empty.

The stories of Shukshin and Renu are chronicles of the life of the Soviet and Indian villages in the second half of the 20th century. It is no coincidence that Shukshin called his first collection of short stories "Villagers". This name is justified by the deep interest that Shukshin shows to the spiritual world of the village dweller. Many of the stories of Shukshin and Renu reflect a deep love for the village, longing for it. This melancholy, of course, expresses the personal experiences of Shukshin and Renu. That is why the stories of both writers are characterized by great artistic and vital force and truthfulness. The problem of the collision of the city and the countryside constantly worried both writers, they returned to it again and again in their stories.

© Thakur S.K., 2017

BIBLIOGRAPHY

Bakhtin M.M. Forms of time and chronotope in the novel // Questions of literature and aesthetics.

M.: Fiction, 1975.

Gorky M. Collected Works. Volume XVIII. M.: Fiction, 1963.

Emelyanov L.I. Vasily Shukshin: Sketch of creativity. Leningrad: Fiction, 1983.

Leiderman N.L. The movement of time and the laws of the genre. Sverdlovsk: Middle Ural book publishing house, 1982.

Neupokoeva I.G. The problem of literary connections and interaction // Questions of Literature. 1959. No. 9. S. 113-128.

Shefalik. Renu ka katha samsar "The Artistic World of Renu". New Delhi: Radhakrishna, 1996. (In Hindi)

Shukshin V.M. Questions to yourself / comp. L. N. Fedoseeva-Shukshina. Moscow: Young Guard, 1981.

Shukshin V.M. Stories. Novels / comp. V. Egorova. Riga: Liesma, 1983.

Chernyshev V.A. Panishwarnath Renu: Writer of the Indian Village. Moscow: Nauka, 1990.

Yayavar B. Renu Rachnavali-1 Collected works of Renu. T. I. New Delhi: Rajkamal, 1995. (In Hindi)

Givens J. Prodigal son: Vasilii Shukshin in Soviet Russian Culture. USA: Northwestern University Press, 2000.

Article history:

For citation:

Thakur S.K. (2017). "Dichotomy city and countryside" in the stories of V.M. Shukshina and Panishvar-

natha Renu // Bulletin of the Peoples' Friendship University of Russia. Series: Literary criticism. Journalism. 2017. V. 22. No. 1. S. 76-83.

Thakur Subhash Kumar, PhD student, Center for Russian Studies, University. Java

Harlala Nehru (Delhi, India)

Contact information: e-mail: [email protected]

THE DICHOTOMY OF "CITY AND VILLAGE" IN STORIES OF V.M SHUKSHIN AND PHANISHWARNATH RENU

Center of Russian Studies Jawaharlal Nehru University Delhi, India, 110067

The article presents a comparative analysis of the dichotomy of "City and Village" in stories of the famous Russian writer V M. Shukshin and Indian writer Phanishwarnath Renu. Considering typological similarities between India and Russia in the second half of the XX century, the present paper examines similar and distinctive features in depiction of the problem of city and village in two stories each of Shukshin and Renu.

Key words: dichotomy, city, village, typological similarities

Bakhtin M.M. Formy vremeni i khronotopa v romane. Question literature and estetiki. Moscow: Khudozhestvennaya literatura, 1975.

Gorky M. Sobranie sochinenii, Tom XVIII. Moscow: Khudozhestvennaya literatura, 1963.

Yemel "yanov L.I. Vasily Shukshin: Ocherk tvorchestva Leningrad: Khudozhestvennaya literatura, 1983.

Leyderman N.L. Dvizheniye vremeni i zakony zhanra. Sverdlovsk: Ural Book Publ., 1982.

Neupokoyeva I.G. Problema literaturnykh svyazey i vzaimodeystviya. Question literature. 1959. No. 9. Pp. 113-128.

Shefalika. Renu ka katkha sansar . New Delhi. Radkhakrishna Publ., 1996. (In Hindi)

Shukshin V.M. Question samomu sebe. Ed. L. N. Fedoseyeva-Shukshina. Moscow: Molodaya Gvardiya, 1981.

Shukshin V.M. Storytelling. Story. Ed. V Yegorova. Riyega: Liyesma, 1983.

Chernyshev V.A. Phanishwarnath Renu: Bytopisatel" indiyskoy derevni. Moscow: Nauka, 1990.

Yayavar B. Renu Rachnavali-1. New Delhi: Rajkamal Publ., 1995. (In Hindi)

Givens J. Prodigal son: Vasilii Shukshin in Soviet Russian Culture. USA: Northwestern University Press, 2000.

article history:

Thakur S.K. (2017). The dichotomy of "City and Village" in stories of V.M. Shukshin and

Phanishwarnath Renu. RUDN Journal of Studies in Literature and Journalism, 2017, 22 (1), 76-

Thakur Subhash Kumar, Phd student of The Center of Russian studies of the Jawaharlal Nehru

University, India.

Contacts: e-mail: [email protected]

Literature. Lesson 20.

Vasily Makarovich Shukshin (1929 - 1974). The image of the life of the Russian village in the stories "I choose a village for residence", "Cut off", "Crank".

Lesson objectives :

educational – introduction to biography andcreativity Shukshin;

developing – identification of the main artistic features of Shukshin's stories andauthor's position; skills developmentliterary text analysis; improving the ability to express one's own thoughts in writing;

educational I - identifying the features of the national character,moral ideals of the writer; education of love for a small motherland.

Lesson progress :

lesson(time)

Teacher actions

Student actions

Organizational stage (1 min.)

Greetings; fixing absent; organization of students' attention.

Quick inclusion in the business rhythm.

Goal setting stage; motivation for learning activities

(3 min.)

Topic post, posing a learning problem joint definition of the purpose of the lesson and planning actions to achieve it. Setting an attractive goal.

Introduction to the topic and learning problem . ( Formulation and pronunciation of the target settings of the lesson and work plan. Rationale for the relevance of the topic.)

W: The topic of our lesson is ... Try to identifywhat each of you needs to learn in the course of the lesson. (FROM: We have 2 tasks: 1) get acquainted with the biography and creativity Shukshin; 2) identify the main artistic features of his stories.

W: Now try to justify the relevance of today's topic. (The study of the topic will allow a deeper understanding of the positive and negative qualities of the national character, the moral position of the writer, a more meaningful attitude to life.)

Actualization of the subjective experience of students (Reading a poem by Georgy Kondakov).

The stage of primary assimilation of new knowledge

Stage of primary consolidation of new knowledge

The stage of primary verification of the assimilation of new knowledge

Organization of acquaintance with theoretical material on the topic; providing a method for studying the studied knowledge, methods and means; ensuring the assimilation of the methodology for reproducing the studied material.

Acquaintance with theoretical material on the topic; mastering the methods of studying the studied knowledge, methods and means (heuristic conversation; analysis of literary texts; systematization and generalization of information, formulation of conclusions and the author's position).Transfer of knowledge and skills, their use in non-standard situations.

Now I’ll say it beautifully: if you want to be a master, dip your

pen to the truth. Nothing else will surprise you.

V.M. Shukshin

Creative activity - a little over 10 years: 125 short stories, 2 novels: Lovers and I have come to set you free; the story “And in the morning they woke up” and “Point of view; the plays "Energetic People", "Boom Boom" and "Until the Third Roosters"; 6 films based on his own scripts: “They report from Lebyazhe” (thesis), “Such a guy lives”, “Your son and brother”, “Strange people”, “Stove-shops”, “Kalina Krasnaya”, 28 film roles.

1. EPU 1 The main stages of life and creativity . (Abstract. message. "Biography of V.M. Shukshin).

V.M. Shukshin was bornJuly 25, 1929 . in the village of Srostki, Biysk district, Altai Territory. And he was still very young when his father was arrested on charges of aiding the enemies of Soviet power. In 1956, Makar Shukshin was posthumously rehabilitated - like many innocent victims at that time. Vasya and his sister Natalya were raised by their mother, Maria Sergeevna. For a short time, the children had a stepfather, according to Shukshin, a kind person. My stepfather died in the war. Shukshin carried the most tender love for his mother through his whole life.

(slide number 3) AT 1943 In the war year, he graduated from the rural seven-year plan and entered the Biysk Aviation Technical School, but he did not like it there, and he returned to Srostki, became an ordinary collective farmer, a master of all trades. However, in1946 In the year Maria Sergeevna had to lead her son into an independent life.

From the age of 17, Shukshin worked at a construction site in Kaluga, at a tractor plant in Vladimir, at construction sites in the Moscow region - workers were then required everywhere. He tried to enroll in a military aviation school, in an automobile school - through the military registration and enlistment offices. Did not work out.

AT 1949 Shukshin was called up for military service - the fleet. He served first in the Baltic, then -in the Sevastopol : senior sailor, radio operator by profession. Registered in the officer's library. The fact that books build entire destinies, Shukshin wrote, having already become a famous writer. After demobilization, he returned to Srostki - apparently already with well-thought-out plans. I passed my matriculation exams externally, having messed around with mathematics a lot, and considered this my small feat:“I have never experienced such a strain of forces” . In Srostki, obviously, there were not enough teachers - Shukshin taught Russian language and literature at the evening school there for a short time and retained a bright memory of how gratefully his students listened - the village boys and girls who had worked out during the day.

(slide number 4) From the article by V. Shukshin “Monologue on the stairs”: “I was, frankly, a poor teacher (without special education, without experience), but I still can’t forget how good it was, the guys and girls who had worked out during the day looked at me gratefully when I managed to tell them something important, interesting . I loved them at such moments. And in the depths of my soul, not without pride and happiness, I believed: now, in these moments, I am doing a real, good deed. It's a pity we don't have many moments like this in our lives. They make up happiness.”

In the spring of 1954, Maria Sergeevna, in order to raise money for her son to travel to Moscow, sold the heifer. There are many legends about how Shukshin entered the Institute of Cinematography.

(slide number 5) From the memoirs of Shukshin: “It was 1954. There were entrance exams to VGIK. My preparation left much to be desired, I did not shine with special erudition and with all my appearance caused bewilderment of the selection committee ... Then I met Mikhail Ilyich Romm. Applicants in the corridor painted a terrible picture of a person who will now look at you and incinerate you. And they looked at me with surprisingly kind eyes. I began to ask more about life, about literature.” “The horror of the exam resulted in a very humane and sincere conversation for me. My whole fate here, in this conversation, probably, was decided. True, there was still a selection committee, which, apparently, was also amazed at who Mikhail Ilyich was recruiting.

The chairman of the commission ironically asked:

– Do you know Belinsky?

- Yes talking.

– And where does he live now?

Everyone in the committee was silent.

Vissarion Grigorievich? He died, - I say, and began to prove unnecessarily ardently that Belinsky "died". Romm was silent all this time and listened. The same infinitely kind eyes were looking at me. I was lucky to find smart and kind people.”

(slide number 6) While still a student, Shukshin filmed a term paper according to his own script, played and directed himself. received as a student(2) first big movie rolesoldier Fedor in the film by Marlen Tsukhiev "Two Fedor" ( 1959 ). (6) His last role was Lopakhin in Sergei Bondarchuk's film "They Fought for the Motherland" ( 1974 ). (4) The first directorial work in the cinema - the film "Such a guy lives" ( 1964 ). (5) The last one is “Kalina Krasnaya” ( 1973 ). (1) The first story that appeared in print was “Two on a Cart” ( 1958 ). (3) The first book is a collection of short stories "Villagers" ( 1964 ).

During the life of Shukshin, few people thought about the price paid for his art. ATnotes in the margins of his drafts there are such lines: “Never, not once in my life have I allowed to live relaxed, falling apart. Always energized and collected. Both good and bad - I start to twitch, I sleep with clenched fists. It can end badly, I can crack from stress.”(slide number 7) Vasily Makarovich Shukshindied on the night of October 2, 1974 from a heart attack in the cabin of the ship, which served as a floating hotel for the participants in the filming of the film “They Fought for the Motherland”. In 2002, Shukshin's admirers saved the old ship from being scrapped, repaired it and gave it a name - "Vasily Shukshin".

2. FTE 1 Heuristic Conversation

W: Some critics believe that Shukshin is characterized by some social limitation. He constantly wrote about the countryside and villagers, but he had a negative attitude towards the city and townspeople. Do you agree with this opinion? (The main thing for Shukshin is not where a person lives, but how he lives and what kind of person he is. The main thing is to have the courage to tell the truth. And Shukshin had it. for various reasons, but Shukshin had the courage to look life in the face.story "Resentment ” Sasha Ermolaev says: “How long will we ourselves help rudeness. After all, we ourselves have bred boors, ourselves! No one brought them to us, they didn’t drop them on parachutes.” V. Shukshin is not afraid of the sharp, unexpected actions of his heroes. He likes the rebels because these people defend human dignity in their absurd way. The writer hated self-satisfied, well-fed, reassured people, he wanted to disturb our souls by showing the truth, and they demanded beautiful heroes and noble gestures from him. AT.Shukshin wrote : “Like anyone doing something in art, I also have “intimate” relationships with readers and viewers - letters. They write. Require. They need a handsome hero. They are scolded for the rudeness of the heroes, for their drinking, etc. And what do they require? For me to invent. He, the devil, has a neighbor who lives behind the wall, who is rude, drinks on weekends (sometimes noisily), sometimes quarrels with his wife. He does not believe in him, he denies, but he will believe if I lie from three boxes: he will be grateful, cry at the TV, touched, and go to bed with a calm soul.

FTE 2 Analysis of the story "Freak" (1967).

How can you characterize the hero? (Kind, direct, sensitive.)

What is the portrait characteristic of Chudik? ("round fleshy face", round eyes.)

Why are Chudik's face and eyes exactly round? What does the circle symbolize? (Like children, he is ready to explore the world and be surprised. Completeness, integrity. The Freak has a whole character, in all actions he remains true to himself.)

Why is the main character "constantly getting into different stories"? (He is not able to think how his act will be perceived, he does not know how to analyze like a child.)

What does the saying that he does not like hooligans and sellers add to the character of the Freak? (A bully can beat, and the seller can get nasty, he, like a child, is afraid of them.)

What kind of relationship does Chudik have with his wife? (His actions irritate her, she even beats him with a slotted spoon.)

And what exactly in the character of the Freak does not like his wife? (He is impractical, looks like a child, not the head of the family. The wife is the head of the house.)

How is Chudik's relationship with his brother and daughter-in-law developing? (The daughter-in-law does not love him, because he is rural, not adapted to city life, she is annoyed by his actions. But he did not even understand that she did not like him, wants to please her - she paints the stroller. He has a good relationship with his brother, their memories of childhood bring them together.They are similar, the brother also does not oppose his wife, who has taken the main position in the family.)

And what are the dreams of the Freak? (He dreams that everyone would drink tea together at home and everyone would be fine.)

Why does the Freak pay attention to the money in the store? How does this characterize him? (He wanted to bring joy to people, he does not even have the thought of taking the money while no one is watching.)

Why doesn't he come back for the money? (Suddenly everyone will think that he decided to pocket other people's money, that he is dishonest.)

How does Freak feel on the train? (He no longer remembers the situation in the store, he, like a child, is again open to new experiences).

How does the Freak behave on the plane? (He wants to eat because of curiosity, he wants to fall into the clouds.)

What surprises him in a neighbor on the plane? (That he is interested in the newspaper, not live communication.)

Why is Freak looking for a jaw? (Natural desire, does not think about the ethics of their actions).

Does the weirdo feel different from others? (He asks himself this question several times, and also the question “why did they become evil”, his heart aches from misunderstanding of others, he is “bitter.”)

What relationship does Freak have with the natural world? (Harmonious, the world accepts him, he feels good in nature (runs barefoot through the puddles), he no longer thinks about the bad.)

Conclusion : Shukshin's "freaks" are people not of this world, dreamers and dreamers. They dream of high and eternal, but absolutely unattainable. With all their existence, actions, "freaks" refute the usual ideas about a person and life. They are impractical, in the eyes of ordinary people often look strange and even stupid. But what induces them to do strange things is positive, unselfish motives, they make even eccentricity, imaginary or genuine, forgivable.

EPP 1 Reading letters. self. works.

FTE 3 Analysis of the story "Cut off" (1970).

Dictionary

Candidate - a junior academic degree, as well as a person who has this degree.

Philology - a set of sciences that study the culture of the people, expressed in language and literary creativity.

Philosophy - one of the forms of social consciousness - the science of the most general laws of development of nature, society and thinking.

Natural philosophy - the general name of the philosophical doctrines of nature that existed until the 19th century, which were not based on strict natural science knowledge.

Dialectics - the theory and method of cognition of the phenomena of reality in their development and self-movement, the science of the most general laws of the development of nature, society and thinking.

shamanism - an early form of religion based on the idea of ​​supernatural communication between a cult servant - a shaman - and spirits during a ritual.

Trajectory - the path of movement of a body or point.

Demagogy - reasoning or requirements based on a roughly one-sided understanding, interpretation of something.

Klyauznik - a person involved in petty quarrels, squabbles because of gossip, intrigue.

The protagonist of the story, "village resident Gleb Kapustin", is too unlike Shukshin's favorite "freaks" - good-natured, unsophisticated people who live with an open heart. What is this "dissimilarity" of the main character?

- What main event is the author talking about? How he does it?(Shukshin, without any introduction, very simply, dynamically begins the story with the main event: “The son Konstantin Ivanovich came to the old woman Agafya Kuravlyova. With his wife and daughter. To preach and relax.”)

- What expressive syntactic device does Shukshin use here? For what purpose?

(Parcellation. The sentences are intonationally divided into independent segments, graphically highlighted as independent sentences. Thanks to this, we learn that he did not come alone, and also learn about the purpose of his arrival. Further information is supplemented: “... the son with his family, middle, Kostya rich, learned).

- What do we learn about Gleb Kapustin?(An appraisal portrait of the main character is given - “a man ... well-read and malicious” - and it is said about his passion to cut off, to confuse visiting celebrities. An example can be given: the case of the colonel.)

-Find a description of Gleb's appearance.(It is limited to two strokes: “thick-lipped, fair-haired man of about forty.”Shukshin rarely gives detailed portrait characteristics of the characters. After all, the speech of the characters is so expressive that the whole person is visible. The writer himself explained it this way: “Direct speech allows me to strongly reduce the descriptive part: what kind of person? what do you think? what does he want? In the end, this is how we form the concept of a person - by listening to him. Here he will not lie - he will not be able to, even if he wants to. It is the language that is the main means of creating the character of Gleb Kapustin.)

- Why did the candidates of sciences turn out to be defeated in the eyes of the peasants? How does the village treat Gleb Kapustin and those whom he “cuts off”?(The men have little understanding of the issues that Gleb touches on. It is no coincidence that he says to the candidate: “Excuse me, we are here ... far from public centers, I want to talk, but you won’t particularly run away - there’s no one with you.” he doesn't care about anything. "Where does it come from?" - they are surprised, talking about Gleb and not realizing that there is absolutely no topic for conversation for candidates of sciences. "Let's establish what we are talking about," asks Konstantin Ivanovich. But in this way, until the end of the argument, Gleb will confuse him, confuse him; and the peasants will not doubt for a minute that Gleb “pulled off” the candidate, “combed” poor Konstantin Ivanovich, and “Valya didn’t even open her mouth.” in the voice of the peasants one can hear pity for the candidates, sympathy, and although Gleb still surprised and delighted, the peasants did not have much love for him.)

Follow the development of the verbal duel. How does Gleb Kapustin behave? Is there any logic in the questions he posed? (“In what area do you identify yourself?” he asks. It is important for him that there must be a philosophy. Apparently, in this area Gleb understood best of all, he felt like a fish in water. He does not suspect that philology and philosophy are completely different sciences, he behaves confidently, assertively, and is clever. There is absolutely no logic in the questions he posed. Either he talks about the primacy of spirit and matter, then he suddenly jumps to the problem of shamanism, then he refers to the proposal put forward by scientists that the Moon lies in an artificial orbit. It is very difficult to follow the course of his thoughts, especially since Gleb does not always use terms correctly, he names those that did not exist and do not exist: “Natural philosophy, for example, will define it this way, strategic philosophy - in a completely different way ...” In response to the answers of candidates of science, he reacts now with negligence, now with a grin, now with malice, now with outright mockery. In the end, Gleb in a verbal duel still reaches the climax - “soars up”. How he loves to do it! After all, then everything happens by itself - and he becomes the winner).

Analyze Kapustin's accusatory speech against the candidate. Can it be called a model of ideological elaboration?

What do you think is the reason for Gleb's cruelty to "famous" people?(On the one hand, Gleb himself could not achieve much in life - he worked at a sawmill.A rather well-read man, having some knowledge, he tried to compensate for the lack of education by "teaching" other people, looking for opportunities to "cut" them. On the other hand, he seems to stand up for the village,“cuts off” the urban “growth of dogmas and lies”.)

Conclusion : Shukshin not only reveals the character of the hero, but also shows the frightening nature of laughter, dressing up Gleb as a debater, “half-learned”: on the one hand, he ridicules the worn-out formulas, the entire flow of information from Moscow, and on the other, he kind of warns that the province itself on the mind that she is not only an object of manipulation, “fraud”. The writer was one of the first to think about a problem of great importance: why is all this rural, grassroots Russia so afraid of Moscow, which owns “television power”, experiments on itself, coming from the capital? In this regard, Gleb acts as a protector of the village, reflects the time in its contradictions, “cuts off” one by one the “growth of dogmas and lies”.

EPP 2 Reading letters. self. works.

Analysis of the story "I choose a village for residence" (1973)

Tell us about his work. (Nikolai Grigoryevich, with truly village ingenuity, cunning, resourcefulness, approached the issue of his work. All his life he worked as a storekeeper. He stole in moderation, did not take too much. And he justified himself by saying that it was wrong to talk about conscience with a “bare bottom” when you have something behind your soul for a "rainy" day. And then, so much good passed through the hands of Nikolai Grigorievich that it never occurred to anyone to call what he took theft. Except, " some brat with a law degree.")

What strange whim did he develop in his old age? (On Saturdays, when it would be possible to spend the day with his wife, in the evening Kuzovnikov went to the station. There he found a “smoking room” - a place of communication for village peasants who came to the city on their business. And among them the hero began strange conversations. Allegedly, he chooses a village for his residence - he wants to return to his roots and consults with the peasants where it is better to go. There were always a great many advisers. Everyone tried to present their village more profitably. A discussion of everyday issues of "living and being" in the village began: how much does a house cost, what where nature is, how things are with work, and so on.)

Gradually, conversations flowed into a different direction - a discussion of people, urban and rural, began. How are the people of the city and the countryside evaluated in these conversations? (The townspeople lost: they were more dishonorable, angry, ill-mannered, boorish. It was in this part of the conversation that Nikolai Grigoryevich turned from a listener into an active participant: “-After all, that’s why I want to leave! .. That’s why I want something - more patience there is none."

What is the true reason for the hero's Saturday marches? (It was necessary to pour out the soul, to feel another communication, warmer and more spiritual, emanating from the village peasants. The author says that Kuzovnikov also behaved evilly and boorishly at work. But his soul demanded something else: warmth, participation, kindness, good-naturedness. What is so lacking in the city, where in the pursuit of a beautiful life, people forget about their souls.And in the conditions of the city, this need can "result" in such "whims" as Kuzovnikov's.Hiking turned into a kind of meaning of life for the hero - he would have done them, in spite of any prohibitions, secretly, because, in fact, there was nothing else in his life.)

Conclusion : Shukshin depicts the contrast between rural and urban life. “I choose a village to live in” is not only a process, but also a result. Between the city and the countryside, between the urban and rural worldview, philosophy, man, the author and his hero choose the village as the stronghold of life, the basis, the roots of human existence in general.

EPP 3 Reading letters. self. works.

EPU 2 Shukshin's works differed from what Belov, Rasputin, Astafiev, Nosov wrote within the framework of rural prose. Shukshin did not admire nature, did not go into long discussions, did not admire the people and village life. His short stories are episodes snatched from life, short scenes where the dramatic is interspersed with the comic. The heroes of Shukshin's village prose often belong to the well-known literary type of the "little man". The classics of Russian literature - Gogol, Pushkin, Dostoevsky - more than once brought out similar types in their works. The image remained relevant for rural prose. While the characters are typical, Shukshin's heroes are distinguished by a heightened reaction to the humiliation of a person by a person and an independent view of things, which was alien to Akaky Akakievich Gogol or Pushkin's stationmaster. Men immediately feel insincerity, they are not ready to submit to fictitious city values. Original little people - that's what Shukshin did. In all his stories, the writer draws two different worlds: a city and a village. At the same time, the values ​​of the first poison the second, violating its integrity. Shukshin writes about the opportunism of the townspeople and spontaneity, an open look at the world of the village peasants.

EPP 4 Compilation of the cluster "Artistic features stories by V.M. Shukshin"

Reflection of life in motion.

Simple, confident, dynamic start.

Efficiency and collection.

There are almost no portrait and landscape descriptions.

Heroes are people of the people.

Characters are revealed through speech, in dialogues.

A constant plot situation is a meeting.

The ending of the story is open.

I would like to finish our lessonin the words of the writer, who through the years are addressed to us: “ The Russian people in their history have selected, preserved, elevated to a degree of respect such human qualities that are not subject to revision: honesty, diligence, conscientiousness, kindness. Believe that everything was not in vain: our songs, our fairy tales, our incredible severity of victory, our suffering - do not give all this for a sniff of tobacco. We knew how to live. Remember this. Be human".

Stage of control and self-test

Verification work. Drawing up a miniature “What is the meaning of the opposition of the city and the village in the stories of V.M. Shukshin?

FROM: Perform verification work.

The stage of debriefing; reflection

What useful information did you get from today's lesson?

What did the stories of V.M. Shukshin?

FROM: They answer questions.

The stage of informing about the task for independent work and instructing on its implementation

W: Chit. story by V. Bykov "Sotnikov";, p. 329, question. 2 (oral analysis of the story), letters. comparative characteristics of Sotnikov and Rybak; ind. refer. message "Biography and work of V. Bykov."

C: Write down the task for self. work.

The terms "village prose" and "village writers" are conditional names, but they formed a stable circle of topics that were covered by such talented writers as Viktor Astafyev, Vasily Belov, Viktor Rasputin, Vasily Shukshin. In my works. They gave a picture of the life of the Russian peasantry in the 20th century, reflecting the main events that influenced the fate of the village: the October Revolution, civil war, collectivization, famine, military and post-war hardships, all kinds of experiments on agriculture. With love, the writers created a whole gallery of images of villagers. First of all, these are the wise old women of Astafyev, Shukshin's "freaks", patient simple peasants.

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type of development: training session

Depiction of Russian village life in stories

V.M Shukshina.

Developed by the teacher: L.A. Loseva

Reviewed and approved at the meeting

cycle commission

and philological disciplines

protocol __________ dated ____________

Chairman of the PCC _______ O.A. Khalezina

2015

Outline of the lesson

Topic: "The image of the life of the Russian village in the stories of Shukshin"

Discipline: literature

Lesson type: combined

The purpose of the lesson:

Educational:give an idea of ​​\u200b\u200b"village prose"; to acquaint with the biography and work of V.M. Shukshin.

Educational:the formation of a civic-patriotic worldview of students through the study and analysis of works that tell about the life of the Russian village, about the small homeland.

Developing: develop the ability to analyze works of art of a small genre; reveal the universal content of the studied works; argue and formulate your attitude to what you have read.

Tasks:

To acquaint students with the historical features of the "thaw" period;

To acquaint with the concepts of "village" prose, "urban" prose, "village writers"

- analyze the stories of Vasily Shukshin: “Freak”, “Mother’s Heart”, “I Believe”, “Countrymen”, “At the Cemetery” and others.

Equipment: portraits of writers, fragments of the film "Kalina Krasnaya", projector, computer, screen, collections of stories.

Methodological techniques: use of ICT, lecture, analytical conversation.

During the classes:

1. Teacher's word:As an epigraph to the lesson, I would like to take the words of the Soviet writer Viktor Astafyev, who summed up the “village prose” by writing the following words:“We sang the last cry - about fifteen people were found mourners about the former village. We sang it at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry.”

The terms "village prose" and "village writers" are conditional names, but they formed a stable circle of topics that were covered by such talented writers as Viktor Astafyev, Vasily Belov, Viktor Rasputin, Vasily Shukshin. In my works. They gave a picture of the life of the Russian peasantry in the 20th century, reflecting the main events that influenced the fate of the village: the October Revolution, civil war, collectivization, famine, military and post-war hardships, all kinds of experiments on agriculture. With love, the writers created a whole gallery of images of villagers. First of all, these are the wise old women of Astafyev, Shukshin's "freaks", patient simple peasants.

Today we turn to the work of Vasily Makarovich Shukshin (1927-1974). He himself comes from a peasant family, his homeland is the village of Srostki in Altai. Shukshin managed to see and experience a lot in his life: he served in the Navy, worked as a loader, locksmith, teacher and even a school principal. Then he graduated from the directing department of VGIK. He became known as an outstanding actor, director, screenwriter.

2. Presentation prepared by students about life and work

V.M Shukshina.

3. Viewing an episode from the feature film "Kalina Krasnaya", where the writer plays the main role of Yegor Prokudin.

4. Analytical conversation on this story.

Do you like or dislike the main character and why?

What is the attitude of the villagers towards the former prisoner (parents, Lyuba's brother, daughter-in-law, chairman of the collective farm)?

Why, despite the deceit, did Lyuba fall in love with E. Prokudin?

What does the final scene make you think about?

5. Stage reading and analysis of the story "Mother's Heart" or the story "Vanka Teplyashin". What unites these two stories with the story "Kalina Krasnaya".

6. The word of the teacher.

The heroes of Shukshin's story are village people who encounter the city or townspeople who find themselves in the village. All heroes have different characters and different fates, but they are often united by kindness, sincerity, philanthropy, even some spontaneity. Shukshin's first collection was called “Village Residents” (1963). In a word, they can be called “freaks”, because their actions are often difficult to understand for prudent and practical people. Freaks, like white crows, stand out among those around them with an extraordinary character with an ordinary (ordinary) appearance.

7. Analytical conversation. Analysis of the stories of V. Shukshin according to the plan:

What Shukshin stories have you read?

What "weirdos" do you remember?

What do they think, reflect, what do they strive for?

What are they dreaming about?

Why are "freaks" not like fellow villagers?

What did you like or dislike about the "weirdos"?

What made you think?

8. Analysis of the story "Crank" (1967). FROM stage elements.

The protagonist Vasily Egorych Knyazev, who was 39 years old, received the nickname "freak" from his wife, who sometimes called him so affectionately. But his actions often caused misunderstanding of others, and sometimes even angered, driven to rage.

Homemade, creative work.The hero's monologue about himself.

Presentation by the student who prepared this story.

Dramatization of an excerpt from the story "Sending a telegram"

9. Analysis of the story "Cut off".

The main character is a vain, ignorant, ambitious villager who is constantly trying to prove to himself and his fellow villagers that he is no worse, but smarter than any city. about native, who came to the village. The purpose of his life is to “surpass, cut off”, cheat, humiliate a person in order to rise above him.

Home preparation.Scene from the story "Cut off": a dispute with a scientist who came from the city.

Summary of the lesson: Shukshin's innovation is associated with an appeal to a special type - "freaks", causing rejection by others with their desire to live in accordance with their own ideas about goodness, beauty, justice. A person in Shukshin's stories is often not satisfied with his life, he feels the onset of universal standardization, boring philistine averageness and tries to express his own individuality, usually with somewhat strange actions. Such Shukshin heroes are called "freaks". Sometimes eccentricities are kind and harmless, for example, in the story "Freak", where Vasily Yegorych decorates a baby carriage, and sometimes eccentricities develop into a desire to rise above another person, for example, in the story "Cut off".

Shukshin is looking for sources of wisdom in the ability to feel the beauty of nature, life, in the ability to please people, in spiritual sensitivity, in love for the earth, for one's neighbor.

“Well, work is work, but the man is not made of stone. Yes, if you caress him, he will do three times more. Any animal loves affection, and a person, even more so ... You live and rejoice, but rejoice others.

From the letter of the old woman Kandaurova (story "Letter").

Homework.

The artistic world of V.M. Shukshina is quite rich, but if you think about it, you can draw a parallel between the themes and ideas of his stories. Shukshin is a true and zealous patriot, and therefore his stories are united by an undisguised and all-encompassing love for the motherland, the motherland in all its manifestations, whether it is the country as a whole (when the characters strive to be useful to it) or the so-called small motherland - a village, a village (Shukshin himself comes from a small village, and, probably, therefore, his heroes, being far from their home, wish with all their hearts to return there as soon as possible).

It is impossible not to notice that in the stories, for the most part, villagers are described. There are, apparently, two explanations for this: first, as already mentioned, their way of life is known and loved by the writer since childhood; secondly, he probably wanted to correct the prevailing image of a narrow-minded, incapable of thinking on serious issues, and even a somewhat obtuse villager. In Shukshin's stories, a Russian person is always searching, unable to "vegetate", asking difficult questions of life and himself obtaining answers to them. Everyone is a person, not just a face from the crowd. His problem is that he cannot open up completely, something always interferes with him, but in the end he finds an outlet for his energy in something else.

For example, the hero of the story "Mil pardon, madam!", tormented internally by the fact that, in his opinion, he did not benefit his homeland, and also lost two fingers in a completely stupid way, becomes a grandiose inventor.

Shukshin also touches on a very serious problem of his time: the gap between the city and the countryside, the extinction of the latter due to the fact that young people seek to find themselves in the turbulent city life. The village meets this fact in different ways: someone (mainly old parents) is upset about the departure of their relatives and the distance separating them, someone (neighbors, friends) out of envy, or maybe, also being upset, in every possible way " denigrates the city, and with it its inhabitants. Such is Gleb - the hero of the story "Cut off". He has an obsessive desire to somehow take revenge on the townspeople for the fact that they have achieved success. And he "cuts off", ridicules visitors, and does it masterfully, thereby trying to rise in his own eyes and in the eyes of those around him. To some extent, he is also a patriot: he does not want the village to be inferior to the city in any way.

Many of Shukshin's heroes are somewhat "eccentric", which, nevertheless, does not speak of their shortcomings or inferiority, but, on the contrary, inspires some kind of charm in their image. Just such "freaks" are the most harmonious, independent people of the writer. Vasyatka Knyazev refuses to live a boring life and therefore wants to decorate his life and everything around. He is full of strength and desire to do good to people, to please them, even if they do not understand it.

And yet, all the heroes of Shukshin lack something, and this something is happiness. The search for happiness is one of the main themes of the works of this writer.

Shukshin's stories are so natural and harmonious that one gets the impression that he simply wrote without thinking about form, composition, or artistic means. However, it is not. Stories have a certain feature through which the writer also partly expresses his opinion. According to Shukshin himself, the story should "unravel the soul", console, reassure, teach the reader something. And for this, the writer did not clothe his works in a strict form. In fact, there is no composition in his stories.

The author himself singled out three types of story: story-fate, story-character, story-confession. Indeed, in him you can most often find some specific situation (and then he is limited to only a cursory mention of the hero, his life) or a story about a separate type of psychology (and here any situation is necessarily described, because it is the main way of revealing character's character). The events in the stories are real, and this is the main thing: the fuller and brighter the characters are if they are shown in an ordinary setting. Very often Shukshin begins the story with a direct reference to the fact; this feature, by the way, is inherent in all storytellers who do not count on striking the audience, but simply recounting a specific event.

In relation to the stories of Shukshin, one cannot speak of an outset or a climax. They begin mostly right with the climax, an interesting, turning point in a person's life, and end with an "ellipsis". The story abruptly ends, and, in general, it is not clear what will happen after, and this makes it even a little creepy.

Thus, the circle of the main themes of Shukshin’s stories consists in the following concepts: home, work, homeland, family (it’s not for nothing that the writer has so many stories on everyday, family topics), truth (lie is organically unusual for most heroes, while others, if they lie, then either they dreamers, or circumstances so require). It is worth noting that Shukshin does not have ideal heroes as such. He is demanding of his heroes, whose prototypes he constantly found around him in real life; probably, therefore, it is impossible to call with certainty every act of any hero right. But Shukshin did not achieve this. He portrayed life in all its manifestations, without embellishment, one that is usually not noticed. And the main idea that he wanted to convey to us was, most likely, the following: life flows forward, it cannot be stopped, and therefore everything that should happen will definitely happen.