Socio-cultural situation in the second half of the twentieth century (1950-1990s): the entry of civilization into the stage of post-industrial, post-totalitarian society, new technologies, space exploration, further development of natural resources. Awareness of the ecological and spiritual crisis of modern civilization, standardization of life, mass culture, replacing the totalitarian, consumerist attitude to life, the disappearance of utopian consciousness, the destruction of faith in the human mind.

The philosophy of P. Teilhard de Chardin, A. Schweitzer, M. Heidegger (the existence of man in being, communication with him), the theory of French poststructuralism (J. Derrida, J. Baudrillard, R. Barthes, J. Kristeva), the concepts of culture-games, culture-sports (H. Ortega y Gasset, J. Heizinga) are developing.

Literature of the second half of the twentieth century is characterized by a variety of genre forms (small and large epic works, psychological drama, lyrics and poem), the development of traditional styles and trends and the emergence of new ones, adherence to canons and a desire for innovation.

The literature of the second half of the twentieth century is divided into periods:

Literature of the late 1950s-60s (period of the "thaw"): focus on mastering social reality, aesthetics of the "truth of life", analyticism instead of synthesis, individuality instead of typicality. The restoration of social optimism is the utopian idea of \u200b\u200bthe moral improvement of society. The alienation of public consciousness from state ideology and the preservation of the value of social ties ("group man" instead of class man). Dissident movement and underground culture. The formation of various literary trends: the continuation of the traditions of realistic literature ("production" novel, "village" prose, psychological poetry), the revival of traditions (modernism), the emergence of Russian postmodernism. Rejection of the principle of idealizing reality, the principles of analyticism and criticism of reality, changing the principle of historicism, setting for a multi-conflict perception of the world. The emergence of new literary and art magazines: "Youth" (1955), "Friendship of peoples" (1955), "Our contemporary" (1964), "New world" under the direction of A. Tvardovsky.

Literature 1970-80s:search for metaphysical foundations of being and universal values, the essence and meaning of human existence. The crisis of rationalism, passion for various religious, esoteric teachings. Man in natural being and man in the history of mankind and eternity. An appeal to the poetics of myth, to symbolization, an attempt to give a holistic picture of the world. Loss of faith in universal values, the onset of mass culture, an abundance of information, the formation of fragmented consciousness, a playful attitude to reality. Alternative youth culture, underground literature. The eclectic nature of the culture in connection with the assimilation of "detained" and emigrant literature in the late 1980s.

Literature of the 1990s: period of social and social upheavals, the collapse of the Soviet Union. The crisis of traditional ideas about the role of literature and culture. Play (aesthetic) phase in the history of modern literature. Priorities of postmodern culture. Total skepticism in understanding a person. Synthesis of literary movements, dialogue between tradition and neo-avant-garde.

Educational and reference literature:

1. Ashcheulova, I. V. Russian poetry of the second half of the twentieth century: names and motives: tutorial / I.V. Ashcheulova. - Kemerovo, 2007.

2. The history of Russian literature of the twentieth century (20s - 90s). Literary process: a tutorial. - M .: Publishing house of Moscow University, 2006.

3. History of Russian literature of the twentieth century: In 2 parts / Ed. V.V. Agenosov. - M .: Bustard, 2007.

4. Leiderman, NL Lipovetsky, MN Modern Russian literature: in 3 books. Textbook / N.L. Leiderman, M.N. Lipovetsky. - M., 2001. Book. 1 - 1953-1968; book 2 - 1968-1986; book 3 - 1986-1990s.

5. Musatov, V. V. History of Russian literature of the first half
XX century / V.V. Musatov. - M., 2001.

6. Russian literature of the twentieth century: In 2 volumes: textbook / A.P. Krementsov et al. - M .: Academia, 2005.

7. Russian writers 1800 - 1917. Biographical dictionary: In 5 volumes. T. 1. - M., 1989.

8. Russian writers. Biobibliographic Dictionary: In 2 volumes - M., 1990.

9. Russian writers. XX century. Biobibliographic Dictionary. In 2 hours / Ed. N.N.Skatova. - M .: Education, 1998.

Additional educational literature:

1. Bavin, SP The fate of the poets of the Silver Age. Bibliographic sketches / S.P. Bavin, I. V. Semibratova. - M., 1993.

The fireworks of 1945 died down, and a peaceful life began. But could the life of the Soviet people be "peaceful"? After all, Stalinism was still strong, the devastation of war was making itself felt, the collective farmer on the ground and the worker at the factory remained slaves. The Iron Curtain separated our country from the entire civilized world. The countries that had withdrawn to the socialist camp in accordance with the Warsaw Pact, deprived of political independence, went through the red ideological processing. The events in Hungary (1956) and Czechoslovakia (1968) covered us with shame; a blank wall of enmity and hatred arose around the victorious country. They also tried to silence literature. The censorship and the KGB were vigilant to ensure that the truth was not leaked to the press. Against the background of the general impoverishment of the people, the song sounded louder and louder: "Oh, it's good to live in a Soviet country!" Many popular works of those years were permeated with the same pathos. However, there were such writers and poets who did not want to sing along with the cheerful marches, remembering that man does not live by bread alone. The poet Leonid Martynov remarkably expressed the essence of such a view of literature, urging not to change the spiritual bread - the truth about us and our moral state:

Not gold forest opal, Moss does not turn into brocade, You cannot put a coat on a poplar, Do not wrap a pine tree in doha, Do not dress birches in duckweed, To keep their maiden honor. Enough! Need to fearlessly See the world as it is!

The mighty galaxy of writers of the sixties preserved the most important value of the Russian muse - her conscientiousness and unseen, unofficial civic consciousness. Works by G. Vladimov ("Three minutes of silence"), Y. Trifonov ("Long goodbye", "Preliminary results", "The Old Man"), V. Bykov ("Sotnikov", "Obelisk"), F. Abramov ("Brothers and sisters "," Two winters and three summers "), V. Belova (" The usual business "), Ch. Aitmatov (" Farewell, Gyulsary "," White steamer "), V. Astafieva (" Tsar-fish "), V. Dudintsev ("Not by Bread Alone"), which A. Tvardovsky opened to the reader in the magazine "Novy Mir", proved that Russian literature fought and won, despite the fact that unwanted writers were poisoned, not printed, expelled from the USSR.

“The most dangerous poacher is in the soul of each of us,” our contemporary Viktor Astafyev never tires of repeating. "Poacher", "poaching" - these words we usually associate with hunting in forbidden places, but Astafiev extends them to each of us. It exposes the pain points of our awkward, disharmonious, sometimes absurd life, shifting the center of gravity from social (revolution, wars, totalitarian oppression) to moralthe problems of a modern man who condemns himself and his children to "exchanges", "fires", "ditches" are disasters, for each symbol means trouble. Literature of the XIX century was not idyllic, but gave birth to bright names: "Noble nest", "Resurrection", "Seagull". The modern one literally chokes with horror: “Do not shoot white swans”, “Fire”, “Live and remember”, having discovered the apocalyptic state of society, the poaching attitude of man to nature, and to each other, and to his shrines. Collapsed big housePryaslinykh (F. Abramov's novel "House"), because there was sand under the foundation.

The story of Yu.V. Trifonov (1925-1981) "Exchange" introduces us to two clans - the Dmitrievs and the Lukyanovs. The plot revolves around a seemingly banal housing exchange: Lenochka Lukyanova, Dmitriev's wife, wants to get her one-room apartment while her cancer-sick mother-in-law is alive - what's wrong with that? Hating her husband's mother, it turns out, she was jealous of her one-room apartment and busily, energetically pressing on her husband, disregarding his pain, begins to scroll through the exchange. But Trifonov talks to us about another "exchange" - spiritual and moral. Dmitriev, who grew up in a family of old Bolsheviks - disinterested and ideological, succumbed to the onslaught of the pragmatic, predatory consumers of the Lukyanovs' life, was frightened by the destructive privately-owned, selfish psychology of modern poachers. The Lukyanovs "exchanged" the ideas of socialism for openly bourgeois ones, and together - the Dmitrievs and the Lukyanovs - "exchanged" the eternal (love, compassion, self-sacrifice) for the passing. This is how the writer approaches the solution of the problem that has always stood before Russian literature, and especially manifested itself in our days: the moral freedom of man in the face of circumstances. Trifonov shows how, under the influence of these very circumstances (the little things of everyday life), there is a gradual degradation of the personality, the moral fall of a person.

In the book of V.P. Astafieva (born 1924) "Tsar-fish" ecological problem gets a moral and philosophical meaning. It is about the fate of modern civilization. It contains stories from the life of Siberian hunters, fishermen, peasants.

“By the way the fish nodded freely, with satiated laziness on its side, crunched its mouth, as if nibbling cabbage with plastic, its stubborn desire to be closer to a person, its forehead, like a cast of concrete, on which stripes were scratched with a nail, buckshot eyes, rolling without sound under the shell of the forehead, aloof, but without intent, staring at him, fearless look - everything confirmed everything: a werewolf! A werewolf carrying another werewolf, sinful, human is in the sweet torments of the king-fish "- this is how Ignatyich perceived the appearance of a huge sturgeon, main character culminating short story "Tsar-fish". This mysterious description indicates some kind of trouble in the hero's biography: the fish reminded him of something, caught him in something ... But in what?

Ignatyich lived quite respectably: "he did not turn away from people," "he was attentive to everyone," "he didn’t play the trick when dividing the spoils." A handyman of all trades, who even had a boat “clean, sparkling with blue and white paint,” and flowers adorned the shutters of the new house, he himself was neat and taut. Quite a positive type. But inside myself on my mind. On the river he has "three ends" - three berths, and at the "ends" there are heavy anchors so that the boat does not get carried away when he rearranges the "trailers" for catching red fish. He is a poacher of the highest standard. During the last, perhaps for him, fishing Ignatyich remembered his grandfather's order: the king-fish got caught, "to take sturgeon by the gills" - and into the water, free. But obstaclesburst, in the head and heart hardness: I will overcome the fish! I am the king, not she! The writer shows the duel of an exhausted, exhausted fish with a person not for life, but for death, where all our sympathies are on the side of Nature, and not the one who mocks her. In his book, V. Astafiev asserted a simple and clear idea: nature and man are “tied by one deadly end”: if nature perishes, mankind will perish.

Poem by A.A. Voznesensky (born 1933) "The Moat" was written in the best traditions of civil poetry. The reason for its creation was the events on the Simferopol highway and the trial that took place in early 1984 in Moscow. Our contemporaries were tried, who at night, 10 kilometers from Simferopol, tore up the graves with the victims of 1941-1945. and the gold crowns were ripped out by pliers by the headlights. “Skull, followed by another. Two tiny, childish ones ... Skulls lay in a heap, these mysteries of the universe - brown-dark from long underground years - like huge mushroom-smokers ", - the Russian poet cried over them:

Skulls. Tamerlane. Don't open tombs!

A war will break out from there.

Do not use a shovel to cut spiritual myceliums!

It will climb out worse than the plague.

Simferopol did not stop the process.

Communication fell apart times?

Psychiatrist - into the hall!

How to prevent a soulless process

What did I conventionally call "greed" ?!

“Genocide laid this treasure,” the Germans shot 12 thousand victims, and we, “the graveyard of modern souls,” do not steal gold, but destroy ourselves. In Voznesensky, this idea is expressed in a capacious metaphor: "The Angel of Death appears behind the soul, like a terrible trellis open wide." Rich imagery (from biblical motives to the present day), intellectual poetry of the late XX century. Voznesensky is needed not for the sake of "fine literature", but in order to heal society with "shock information". Greed in any form gives rise to a philosophy of permissiveness, combined with the instinct of power and ambition. "Alch", according to Voznesensky, divides people into two camps: those who are sick with it (the deputy minister, who buries the loot in the garden at his dacha, poachers on Lake Baikal who made the lake dead, the perpetrators of the Chernobyl disaster, racketeers of all stripes), and those who does not accept (people are morally pure, including the lyrical hero of the poem, who considers himself a debtor to the boy of the XXI century for poisoned water, destroyed forests, ruined nature). This polarity of human material is amazing, but also encouraging: not everything in our world has perished, there are people with “non-standard minds” (“I am dearer than muskrats among the bright snows of the world non-standard minds”). In the chapter "Before the renovation" a symbolic picture is drawn: a man on a stepladder takes off Ivanov's huge canvas "The Appearance of Christ to the People." (The painting leaves the people for the reserve fund. "The last captain leaves the ship - Christ, not understood by the artist.")

RUSSIAN PROSE OF THE MIDDLE 50S FIRST HALF OF 80S

1. Periodization.
2. The theme of bureaucracy and the problem of dissent in the novel by V. Dudintsev "Not by bread alone".
3. The tragic conflict between ideal and reality in P. Nilin's story "Cruelty".
4. Stories by B. Mozhaev "Alive" and V. Belov "Habitual Business": the depth and integrity of the moral world of man from the earth.
5. Creativity V. Rasputin: the formulation of acute problems of our time in the stories "Money for Mary" and "The Last Time".
6. The artistic world of V. Shukshin's stories.
7. The problem of the ecology of nature and the human soul in the narration in the stories of V. Astafiev "Tsar-fish".
8. Ruthlessness in the depiction of the horrors of everyday life in the story of V. Astafiev "The Sad Detective".

Literature:
1. History of Russian literature of the twentieth century (20-90s). M.: Moscow State University, 1998.
2. History of Soviet Literature: A New Look. M., 1990.
3. Emelyanov L. Vasily Shukshin. Sketch of creativity. L., 1983.
4. Lanshchikov A. Victor Astafiev (Life and Work). M., 1992.
5. Musatov V.V. History of Russian literature of the twentieth century. (Soviet period). M., 2001.
6. Pankeev I. Valentin Rasputin. M., 1990.

The death of Stalin and the liberalization that followed it directly affected the literary life of society.

The years from 1953 to 1964 are usually called the period of the "thaw" - after the title of the novel of the same name by I. Erenburg (1954). This period was for writers a long-awaited breath of freedom, liberation from dogmas, from the dictates of permitted half-truths. "Thaw" had its stages and advancements and backward movements, restoration of the old, episodes of a partial return to the "detained" classics (so in 1956 a 9-titome collection of works by I. Bunin was published, collections of seditious Akhmatova, Tsvetaeva, Zabolotsky , Yesenin, and in 1966 M. Bulgakov's novel "The Master and Margarita" was published). At the same time, incidents like the one that happened after the publication of the novel by Boris Pasternak “Doctor Zhivago” and the award of the Nobel Prize to him were still possible in the life of society. V. Grossman's novel "Life and Fate" - even under the conditions of the "thaw" - was nevertheless confiscated in 1961, arrested until 1980.

The first segment of the "thaw" (1953–1954) is primarily associated with the release from the prescriptions of normative aesthetics. In 1953, in No. 12 of the Novy Mir magazine, V. Pomerantsev's article "On Sincerity in Literature" appeared, in which the author pointed out a very frequent discrepancy between what the writer saw personally and what he was ordered to portray, which was officially considered true. So, the truth in the war was not the retreat, not the catastrophe of 1941, but only the notorious victorious blows. And even writers who knew about the feat and tragedy of the defenders of the Brest Fortress in 1941 (for example, K. Simonov) did not write about it until 1956, they deleted it from their memory and biography. In the same way, not everyone that knew, the writers talked about the Leningrad blockade, about the tragedy of prisoners, etc. V. Pomerantsev urged writers to trust their biography, their hard-won experience, to be sincere, and not to select, adjust the material to a given scheme.

The second stage of the “thaw” (1955-1960) is no longer a field of theory, but a series of works of art that asserted the right of writers to see the world as it is. These are V. Dudintsev's novel "Not by bread alone" (1956), and P. Nilin's story "Cruelty" (1956), and essays and stories by V. Tendryakov "Bad weather" (1954), "Tight knot" (1956), etc. ...

The third and last segment of the "thaw" (1961-1963) is rightfully connected with the novel in defense of captured Soviet soldiers "Missing in Action" (1962) by S. Zlobin, early stories and novels by V. Aksenov, poetry by E. Yevtushenko and, undoubtedly, with the first reliable description of the camp by the story "One Day in Ivan Denisovich" (1962) by A. Solzhenitsyn.

The period from 1964 to 1985 usually called roughly and simplistically "years of stagnation." But this is clearly unfair neither in relation to our science (our country was the first in space, and in the field of many science-intensive technologies), nor in relation to the literary process. The scope of freedom of artists during these years was so great that 1 / for the first time after the 1920s, new literary directions "Country" prose, "military" prose, "urban" or "intellectual" prose, the author's song flourished; 2 / there were specific works about the Russian religious and moral idea in art "Letters from the Russian Museum" (1966), "Black boards" (1969) Vl.Soloukhin; 3 / the historical novelism of V. Pikul (1928–1989) was created, deep historical and philosophical works of D. Balashov were written; 4 / A. Solzhenitsyn's historical and revolutionary novelism ("The Red Wheel") arose; 5 / the rise of science fiction, the flourishing of the social dystopia of I. Efremov and the Strugatsky brothers.

In the 60s and 80s, two trends dominated the literary process: on the one hand, the patriotic, nationally oriented (in V. Belov, V. Rasputin, V. Astafiev, N. Rubtsov, etc.) and, on the other hand, typically "Westernizing", largely individualistic, focused on the latest postmodern philosophy and poetics (E. Evtusheenko, A. Voznesensky, I. Brodsky, V. Voinovich, etc.). Some writers, for example, V. Belov, saw her cathedral-family soul in the peasant hut. Others, for example, V. Voinovich, are no less active than V. Belov, not accepting Stalinism, at the same time in the novel The Life and Extraordinary Adventures of the Soldier Ivan Chonkin (1969) and in the story Ivankiada (1976) they looked at both the "Russian idea" and rural Russia extremely sarcastically.

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abstract

The main directions of the development of Russian literature in the 1950s-1990s.

Moscow - 2012

Introduction. 3

Literature "thaw" 4

Literature 70-90s 7

Development of Prose 10

Conclusion. fifteen

References: 16

Introduction.

Russian literature in 1950-1990 developed unevenly, responsive to the political situation in the country. Artistic heroes grew up with their authors, and literary worksthe most vividly expressed the problems of concern to the public at that time. To understand the soul and view of the world of a person of that time, it is not enough to know what historical steps occurred at the time of his life, it is much more important and effective to take a book of that time. The authors of the 50s-90s, like a curious child, absorbed any movement, any breath of the breeze of freedom, but they also easily succumbed to government repression. Despite the censorship, the Soviet reader continued to want to read, literature could not fade or bend to the demands of the authorities. And even crude actions, such as expulsion or imprisonment for freedom of speech, did not kill the desire to write in Russian authors. This literary period is very interesting in its diversity, human consciousness was seething and looking for answers to all those questions that the authorities or the authors of the past years could not satisfy. I would like to compare the 50-90s with the youthful period, when the authors tried to understand themselves, the world around them and began to ask questions that were critical in relation to reality. To understand themselves, many modern young men and women should study this literary period, and I am no exception.

Literature "thaw"

The period of "thaw" is called the end of the 50s - 60s of the life of society and literature. The death of steel led to great social changes,XX party congress, which took place after, Khrushchev's report on the personality cult of Stalin. The literature of these years was marked by great animation and creativity. During the Thaw, censorship significantly weakened, primarily in literature, cinema and other forms of art, where more critical coverage of reality became possible. A number of new magazines began to appear: "VL", "Russian Literature", "Don", "Ural", "On the rise", "Moscow", "Yunost", "Foreign Literature". More and more often, creative discussions are held on the themes of realism, contemporaneity, humanism and romanticism, attention to the specifics of art is revived. Discussions about self-expression, about "quiet" lyrics, about document and fiction in artistic creation do not pass by either. In 1971, the decree "On literary and artistic criticism" was adopted, which undoubtedly shows how much more importance was paid to the development of criticism in these years. The undeservedly forgotten names and books of I. Babel, A. Vesely, I. Kataev, P. Vasiliev, B. Kornilov have been restored in literature. Also, the works of M. Bulgakov ("Selected Prose", "The Master and Margarita"), A. Platonov (prose), M. Tsvetaev, A. Akhmatov, B. Pasternak are returning to literature.

The 60s are considered a phenomenon in the history of Russian literature of the 20th century. During this period of history, a whole galaxy of names of talented prose writers appeared to the world. First of all, they were writers who came to literature after the war: F. Abramov, M. Alekseev, V. Astafiev, G. Baklanov, V. Bogomolov, Yu. Bondarev, S. Zalygin, V. Soloukhin, Yu. Trifonov, V. Tendryakov. The flowering of creativity of these writers falls on the 60s. During this period, the flourishing of artistic journalism became a feature of the literary process. (V. Ovechkin, E. Troepolsky, B. Mozhaev).

Socio-cultural renewal already at the end of the 1950s was very elephantine and internally contradictory. A separate opposition of the two forces was outlined. Despite the clearly positive trends in the publication of new works, there were frequent critical attacks and even organized campaigns against writers and works, which represented a new stage in social and literary development. (The story of I. Orenburg "Thaw" and his memoirs "People, Years, Life", the novels of B. Pasternak "Doctor Zhivago", V. Dudintsev "Not by bread alone", etc.)

Art workers, young poets and prose writers were also attacked by N.S. Khrushchev, who made rough, elaborate speeches at meetings with the creative intelligentsia in late 1962 and early 1963. In 1962, Khrushchev made the decision to put in place the very "loose" writers and artists who increasingly demanded freedom of creativity. At subsequent meetings, Khrushchev more than once subjected cultural figures to sharp criticism.

In December 1962, an exhibition of works of fine art was organized in the Manege, which Khrushchev also attended. Among the exhibition expatriates there were also several paintings and sculptures made in the style of abstract art, so fashionable in the West. Khrushchev was enraged, believing that the authors mock the audience and in vain transfer the people's money. In his denunciation of the authors, Khrushchev reached the point of public insult, as a result of which many participants were deprived of the right to exhibit, and also were deprived of their earnings (not a single publishing house accepted their work even as illustrations).

Among the artistic intelligentsia, this behavior caused a sharp dissonance, discontent began to spread quickly and spill over into a critical opinion about Khrushchev and his policies, and many anecdotes appeared.

At the same time, the works of the artist Robert Folk, the sculptor Ernest Neizvestny, the poet Andrei Voznesensky, and the film director Marlen Khutsiev were subjected to harsh criticism. The works published in Novy Mir by A. Tvardovsky were subjected to critical attacks, because of which he was forced to leave the magazine in 1970. Also the persecution of Boris Pasternak, the trial of Joseph Brodsky, accused of “parasitism” and exiled to the North, The "case" of Andrei Sinyavsky and Yuliy Daniel, convicted for their works of art published abroad, the persecution of A. Solzhenitsyn, V. Nekrasov, Alexander Galich.

Literature of the 70-90s

Since the mid-60s, the “thaw” has subsided. The period of the "thaw" was replaced by the Brezhnev era of stagnation (70-80s), which was marked by such phenomena as dissidence. For the open expression of their political views, which significantly differed from the polish of the state,communist ideology and practice, many talented authors were forever parted from their homeland and were forced to emigrate.(A. Solzhenitsyn, V. Nekrasov, G. Vladimov, N Aksenov, I. Brodsky).

In the mid-1980s, MS Gorbachev came to power, this period was called "perestroika" and he passed under the slogan "acceleration", "glasnost" and "democratization". In the context of the stormy socio-political changes unfolding in the country, the situation in literature and in social and cultural life has changed dramatically, which has led to a publishing "explosion". The magazines Yunost, Novy Mir, Znamya reached unprecedented circulations, and an increasing number of "arrested" works began to be printed. In the cultural life of the country, a phenomenon appears that has received the symbolic name "returned literature."

During this period of time, new approaches to rethinking the achievements of the past were noted, including the works of the Soviet "classics". In the second half of the 1980s and in the 1990s, the works of M. Bulgakov and Andrei Platonov, V. Grossman and A. Solzhenitsyn, Anna Akhmatova and Boris Pasternak, previously banned, began to be comprehended as the most important components of literary processes XX centuries.

Particular attention was paid to the writers of the Russian diaspora - the first and subsequent waves of emigration: the works of Ivan Bunin and Vladimir Nabokov, Vladislav Khodasevich and Georgy Ivanov, etc. The names of Vasily Aksenov, Georgy Vladimov, Vladimir Voinovich, Sergei Dovlatov, Vladimir Maksimov, Viktor Nekrasov, Joseph Brodsky, Alexander Galich.

In the work of prominent writers in the second half of the 80s, problem-thematic layers of fiction and memoir literature, telling about the historical past, stood out. First of all, they spoke about the tragic events and trials of the era (Stalinist repressions, dispossession and 1937, the "camp theme"). Vivid examples of this period of literature can be lyrical works of a large form: poems-cycles by A. Akhmatova (Requiem), A. Tvardovsky (By Right-to-Memory) and others. The “detained” works were not only publications of outstanding works 20- 30s and 50-60s (A. Platonova "Pit", "Chevengur", M. Bulgakov "The Devil" and "Heart of a Dog", V. Grossman "Life and Fate", "Everything Flows", A. Solzhenitsyn "In the First Circle", "Cancer Ward ", Yu. Dombrovsky" Keeper of Antiquities "," Faculty of unnecessary things ", V. Shalamov" Kolyma stories "), but also the creations of contemporaries:" New appointment "by A. Beck," White clothes "by V. Dudintsev," A golden cloud spent the night "A. Pristavkina," Children of the Arbat "by A. Rybakov.

The literature of these and subsequent years developed in a difficult way, the influences of realism, neo-avant-garde and postmodernism were manifested in it. The question of the creation of historically reliable, genuine philosophical literature about the era and its people in all its complexity was a dumb question hanging on the lips of the readership.

In the late 1980s, literary critic and critic G. Belaya, in her article “Other” prose: a forerunner of a new art, asked one of the main questions of that time: “Who is related to“ other ”prose”? The list of authors of the “other” prose was rather motley: L. Petrushevsky and T. Tolstoy, Venedikt Erofeev, V. Narbikov and E. Popov, Vyach. Petsukh and O. Ermakov, S. Kaledin and M. Kharitonov, Vl. Sorokin, L. Gabyshev and others. These writers were really different: in age, generation, style and poetics. The works of "other" prose were sharply criticized and challenged the Soviet reality. The artistic space of this school was the hostel, communal apartments, kitchens, barracks, and prison cells. And their characters are marginals: homeless people, lumpen, thieves, drunkards, hooligans, prostitutes.

At the same time (80s) a new generation appeared in literature, which called itself the "forties" of the prose writer ("Moscow school"). They came with their hero, for which critics introduce the definitions "median", "ambivalent" (V. Makanin, A. Kurchatkin, V. Krupin, A. Kim).

Development of Prose

In the works "Thaw" by I. Ehrenburg, "Not by bread alone" by V. Dudintsev, "Battle on the way" by G. Nikolaeva, attempts to comprehend the contradictions of socio-political development are very clearly expressed. The authors tried to focus on social, moral and psychological problems.

The works created during the years of the "thaw" attract more attention not by the traditional depiction of the clash of two worlds in the revolution and the civil war, but by the internal dramas of the revolution, contradictions within the revolutionary camp, clashes of different moral positions of people involved in historical action. This was the basis of the conflict in P. Nilin's story "Cruelty". The humanistic position of the young employee of the ugloroiska Veniamin Malyshev comes into conflict with the senseless cruelty of the head of the criminal investigation department. A similar conflict determines the development of the plot in the novel "Salt Pad" by S. Zalygin. From the beginning to the end of the novel, the idea of \u200b\u200bland and the need to protect its beauty from thoughtless cruelty and self-interest of plunderers, from indifferent connivance is stitched with a white thread. The most dear ideas to the author are expounded by Nikolai Ustinov, a hero spiritually close to our time.

“All people are born on the earth — children, fathers, mothers, ancestors, and descendants — but ask if they recognize her mother in the face? Do they love her? Or do they just pretend to love, but in reality they only want to take and take from her, while love is the ability to give? And it can't even be true loving person do not give. The earth is always ready to perish for the sake of people, to effuse for them, to crumble into dust, but find such a person who will say: “I am ready to perish for the sake of the earth! For the sake of its forests, steppes, for the sake of its arable land and the sky above it! "[" Salty Pad "by S. Zalygin.]

Young prose writers of the "thaw" times (: G. Vladimov, V. Voinovich, A. Gladilin, A. Kuznetsov, V. Lipatov, Yu. Semenov, V. Maksimov) were characterized by moral and intellectual quests. "Young" prose of the 1960s, or "confessional", as its critics put it, began with just one person - V. Aksenov. The works of writers of "young" prose were published on the pages of the magazine "Youth".

The hero, who did not meet the generally accepted canons of behavior, was very attracted to the prose writers of that time. Such literary heroes were characterized by an ironic attitude towards the world around them. And only now it becomes clear that behind this screen of irony and causticity of the hero, many authors had a tragic family experience: pain for the fate of repressed parents, personal disorder, ordeals in life. But not only the tragedy became the basis of interest in this type of artistic heroes, the inside story was hidden in high self-esteem, which gave rise to the confidence that without complete freedom they would not be able to fully realize their creative potential. Sort-realistic aesthetics imposed the idea of \u200b\u200ba Soviet person as an integral personality living in harmony with his beautiful modernity, while “young” writers could not accept this instruction, which is why a young reflective hero appeared in literature. These were mainly yesterday's schoolchildren making their first steps in the big world.

A. Kuznetsov begins his story "Continuation of the Legend" with the hero's recognition of his "immaturity" and helplessness. Critics found the reason for the discord in the soul of the hero of "young" prose in the breakdown in the self-awareness of Soviet society, which occurred at the beginning of the "thaw." , which led to a crisis of faith.

"Why was it necessary to prepare us for an easy life?" ["Continuation of the legend", Anatoly Kuznetsov] - asks the main character, finding himself in the "open voyage" of the adult world. This is what became the conflict in "young" prose; the world turned out to be not the same as it was drawn in textbooks and a book, and outside the school doors something completely different, new, for which the younger generation had not yet been prepared, began. The world was changing and it frightened everyone.

Many wanted a beautiful, excited life, such as the heroes of V. Aksenov’s story “Colleagues” (1968), but their romantic view of the world is opposed by the rough and ugly prose of reality that colleagues face immediately after graduating from medical school.

Sasha Zelenin ends up in the village, where they receive doctors the old-fashioned way, and Maksimov has to deal with the routine sanitary and quarantine service in the port instead of sailing on the seas and oceans. Both heroes face evil: Zelenin with the bandit Bugrov, and Maksimov with the crook Yarchuk, whom he brings to the surface. All the heroes of the "confessional" must pass the test of the temptations of compromise: vulgarity, cynicism, and opportunism.

The main conflict that is developing in "young" prose is the conflict between fathers and children. In his story "Star Ticket" V. Aksenov presents the older generation comically. The "star boy" revolt is nothing more than a protest against a template, a standard, a refusal to obey the old norms. It is the desire to be yourself and take control of your own destiny.

However, it should be noted that, to a greater extent, all the spiritual throwings of the authors of "young" prose led them to a tragic outcome - emigration, since the Soviet government could not accept such a novelty of views.

In the prose of the 60s, one more trend can be distinguished - lyric prose, which was represented by such writers as K. Paustovsky ("The Tale of Life"), M. Prishvin ("In the Fog"), V. Solomin ("A Drop of Dew" ), O. Bergolz ("Day Stars"). The works of lyric prose reveal not so much the external movement as the world of the soul of the literary hero. The main thing in such works was not the plot, but the feeling of the characters. "Dew Drop", "Vladimir Country Roads" by V. Soloukhin and "Daytime Stars" by O. Bergolts from the moment of their appearance were considered examples of lyrical prose, where not only the lyrical beginning, but also the epic one dominates. V. Soloukhin's story "Vladimir's Country Roads" is a narrative genre in which not only a lyrical beginning is present, but also elements of a document, essay and research. Anti-bourgeois, everyday prose can be represented by the works of Y. Trifonov, Y. Semin ("Seven in the same house"), V. Belov ("Education by Dr. Spock"). The novels "And that's all about him" by V. Lipatov and "Territory" by O. Kunaev. They were the most significant in "production" prose. "Camp" prose is represented by the works of A. Solzhenitsyn ("One Day in Ivan Denisovich"), V. Shalamov ("Kolyma Tales"), G. Vladimov ("Faithful Ruslan"). This prose also includes the memoirs of former prisoners O. Volkov ("In the Dark"), E. Ginzburg ("Steep Route").

The deepening of artistic conflicts, the desire to explore the contradictions of development in its entirety and complexity, is especially noted in the prose of these years. You can also notice the enrichment of the genre-compositional and stylistic structure of works about the war, the widespread use of conventional forms of depiction, the complication of the author's.

The spiritual renewal of society was provoked by the perestroika of the 80s. It was perestroika that made it possible for many writers to talk about the lack of well-being with the education of the younger generation. It was at this time that the reasons for the decline in morals in society were revealed. Writers V. Astafiev ("The Sad Detective"), Ch. Aitmatov ("Plakha"), F. Abramov ("House") spoke about this.

The summit achievement of literature in the 60-90s was military and rural prose. Military prose was characterized by the authenticity of descriptions of military actions and the experiences of heroes, so the author of military prose was, as a rule, going through everything that she described in her work, for example, the novel "Cursed and Killed" by Viktor Astafiev.

Village prose began to appear back in the 50s ("sketches of Valentin Ovechkin" by Alexander Yashin, Anatoly Kalinin, Efim Dorosh), but did not have sufficient strength and interest to stand out in a separate direction. And only by the mid-60s, "village prose" reaches the required level of artistry (Solzhenitsyn's story "Matryonin's yard" was of great importance for this).

Conclusion.

Society for forty years after the end of the "thaw" managed to radically change, both in terms of the political regime and in views of the world. Russian literature entered the fifties as a daring teenager who liked to look at the world, he was ready to dare and shout to the authorities, spit poison and oppose in every possible way, defending his freedom. But over time, when gatherings in kitchens, exile and public insults began to subside, Russian literature was reborn into a timid young man, for whom the time had come to comprehend everything he had done. Questions about the future, past and own present have become burning. Despite all the tragedy of history that the authors of the 50-90s had to endure, all the harsh criticism and other repressions, thanks to the events of those years, Russian literature was greatly enriched and moved to a different, more meaningful and deeper level. The study of Russian literature of the Soviet era can greatly help the formation of any modern teenager, since leaving schools or colleges, looking at the world, we, like the authors of the “younger” generation, do not know where to apply ourselves.

Bibliography:

1. "Modern Russian Literature - 1950-1990s" (Volume 2, 1968-1990) Leiderman NL & Lipovetsky MN
2. "Continuation of the legend" Anatoly Kuznetsov
3. "Salty Pad" Zalygin S. P.
4. "Commission" Zalygin S. P.
5. "Cruelty" by Nilin P.
6. "Star ticket" V. Aksenov
7. "Colleagues" V. Aksenov
8. Article "Other" prose: a harbinger of new art "G. Belaya
9. “Leaders and Counselors. About Khrushchev, Andropov and not only about them ... "Burlatsky Fedor
10. "N.S. Khrushchev: A Political Biography "Medvedev P.A.

From time immemorial, people from the Russian hinterland have glorified the Russian land, mastering the heights of world science and culture. Let us recall, for example, Mikhailo Vasilievich Lomonosov. So are our contemporaries Viktor Astafiev, Vasily Belov. Valentin Rasputin, Alexander Yashin, Vasily Shukshin, representatives of the so-called "village prose", are rightfully considered masters of Russian literature. At the same time, they forever remained faithful to their village primogeniture, their "small homeland".

It was always interesting for me to read their works, especially the stories and stories of Vasily Makarovich Shukshin. In his stories about fellow countrymen, one sees a great literary love for the Russian countryside, anxiety for today's man and his future destiny.

It is sometimes said that the ideals of Russian classics are too far from modernity and are inaccessible to us. These ideals cannot be inaccessible to the student, but they are difficult for him. Classics - and this we are trying to convey to the consciousness of our students - is not entertainment. The artistic assimilation of life in Russian classical literature has never turned into an aesthetic pursuit, it has always pursued a living spiritual and practical goal. V.F. Odoevsky formulated, for example, the goal of his writing: “I would like to express in letters that psychological law, according to which not a single word uttered by a person, not a single deed is forgotten, does not disappear in the world, but without fail produce any action; that responsibility is combined with every word, with every seemingly insignificant act, with every movement of the human soul. "

When studying the works of Russian classics, I try to penetrate into the "hiding places" of the student's soul. Here are some examples of such work. Russian verbal - artistic creation and the national sense of the world is so deeply rooted in the religious element that even currents that have outwardly broken with religion still find themselves internally connected with it.

F.I. Tyutchev in his poem "Silentium" ("Silence!" - Lat.) Speaks of the special strings of the human soul that are silent in everyday life, but clearly declare themselves in moments of liberation from everything external, mundane, vain. F.M. Dostoevsky in "The Brothers Karamazov" recalls the seed sown by God into the soul of man from other worlds. This seed or source gives a person hope and faith in immortality. I.S. Turgenev, more acutely than many Russian writers, felt the shortness and fragility of human life on earth, the inexorable and irreversible speed of historical time. Sensitive to everything topical and momentary, able to grasp life in its beautiful moments, I.S. At the same time, Turgenev possessed a generic feature of any Russian classic writer - a rare sense of freedom from everything temporary, finite, personal and egoistic, from everything subjectively biased, obscuring the acuity of vision, breadth of sight, and the fullness of artistic perception. In the troubled years for Russia I.S. Turgenev creates a prose poem "Russian language". The bitter consciousness of the deepest national crisis that Russia was going through at that time did not deprive I.S. Turgenev of hope and faith. This faith and hope was given to him by our language.

So, the image of the Russian national character distinguishes Russian literature as a whole. The search for a morally harmonious hero who clearly understands the boundaries of good and evil, existing according to the laws of conscience and honor, unites many Russian writers. The twentieth century (a special second half) even more acutely than the nineteenth, felt the loss of the moral ideal: the connection of times fell apart, the string broke, which A.P. Chekhov (play "The Cherry Orchard"), and the task of literature is to realize that we are not "Ivans who do not remember kinship." I would especially like to dwell on the image of the folk world in the works of V.M. Shukshin. Among the writers of the late twentieth century, it was V.M. Shukshin turned to the national soil, believing that people who have preserved "roots", albeit subconsciously, but were drawn to the spiritual principle inherent in the people's consciousness, contain hope, testify that the world has not yet perished.

Speaking about the image of the people's world, V.M. Shukshin, we come to the conclusion that the writer deeply grasped the nature of the Russian national character and showed in his works what kind of person the Russian village yearns for. About the soul of a Russian person V.G. Rasputin writes in the story "Izba". The writer draws readers to the Christian norms of a simple and ascetic life and, at the same time, to the norms of brave, courageous doing, creation, selflessness. We can say that the story returns readers to the spiritual space of the ancient, motherly culture. The narrative reveals the tradition of hagiographic literature. Agafya's life, her ascetic work, love for her native land, for every hummock and every blade of grass, who erected the "horomins" in a new place - these are the moments of content that make the story of the life of a Siberian peasant woman akin to her life. ", Agafya, having built a hut, lives in it" without one year twenty years ", that is, will be awarded longevity. And the hut, erected by her hands, after the death of Agafya, will stand on the shore, will keep the foundations of a century-old peasant life for many years, not will let them perish in our day.

The plot of the story, the character of the main character, the circumstances of her life, the story of the forced relocation - everything refutes the conventional ideas about laziness and commitment to drunkenness of the Russian person. The main feature of Agafya's fate should also be noted: "Here (in Krivolutskaya) the Agafin family of Vologzhins settled from the very beginning and lived for two and a half centuries, putting down roots in half a village." This explains in the story the strength of character, perseverance, selfless devotion of Agafya, erecting in a new place her "horomina", a hut, after which the story is named. In the story of how Agafya put her hut in a new place, the story of V.G. Rasputin comes close to the life of Sergius of Radonezh. Especially close - in the glorification of carpentry, which was owned by Agafya's volunteer assistant, Savely Vedernikov, who earned a well-defined definition from his fellow villagers: he has "golden hands". Everything that Savely's "golden hands" do shines with beauty, pleases the eye, shines. "Raw hew, and how the board lay down to the board on two shiny slopes playing with whiteness and novelty, as it began to shine in the twilight, when, hitting the roof for the last time with an ax, Savely went down, as if light streamed over the hut and she stood up in full growth, immediately moving into the residential order. "

Not only a life, but also a fairy tale, legend, parable echoes in the style of the story. As in the fairy tale, after the death of Agafya, the hut continues their common life. The blood connection between the hut and Agafya, who "endured" her, does not break, reminding people to this day about the strength and tenacity of the peasant breed.

At the beginning of the century S. Yesenin called himself "the poet of the golden log hut". In the story of V.G. Rasputin, written at the end of the 20th century, the hut is made of logs that have darkened with time. Only there is a shine under the night sky from a brand new plank roof. Izba - a word-symbol - is fixed at the end of the 20th century in the meaning of Russia, homeland. The parable layer of the story of V.G. is associated with the symbolism of village reality, with the symbolism of the word. Rasputin.

So, the focus of Russian literature traditionally remains on moral problems, our task is to convey to the students the life-affirming foundations of the studied works. The depiction of the Russian national character distinguishes Russian literature in its search for a morally harmonious hero who clearly understands the boundaries of good and evil, existing according to the laws of conscience and honor, and unites many Russian writers.