In 1946, Stalin was repeatedly informed that representatives of the creative intelligentsia were convincingly asking him to be admitted to talk about the ways of further development of Soviet literature and art. Stalin, overloaded to the limit with the work to restore the country's economy, postponed this meeting several times. However, he understood perfectly well that the development of literature and art was taking place in the conditions of an ideological struggle against the influence of a bourgeois culture alien to the Soviet people, against outdated ideas and views, in the name of establishing new, socialist ideals.
Soviet intelligence worked extremely efficiently, and Stalin knew exactly what the secret documents contained about American policy towards the Soviet Union. One of the main ideas was traced in them that two paths lead to the main goal - the destruction or serious weakening of the USSR: war and subversion. In addition to the purely military, other very specific tasks were determined: to persistently seek a better understanding of the United States among the influential strata of Soviet society and to counter the Kremlin's anti-American propaganda. On the widest scale that the Soviet government will tolerate, it is necessary to deliver books, newspapers, magazines and films to the country, and broadcast radio broadcasts to the USSR.
Finally, J.V. Stalin chose the time for the meeting. The most prominent representatives of the Soviet creative intelligentsia gathered in the Small Hall of the Kremlin. They greeted the appearance of the leader standing, with long applause.
Stopping in front of Alexander Fadeev, who then headed the Union of Writers of the USSR, he asked:
What do you want to tell me, comrade Fadeev?
Having coped with the excitement that gripped almost all people without exception when meeting with Stalin (see footnote below), Fadeev spoke up:
Comrade Stalin, we have come to you for advice. Many believe that our literature and art are at a dead end. We do not know which way to develop them further. Today you come to one cinema - they shoot, you come to another - they shoot: movies are shown everywhere in which heroes endlessly fight with enemies, where human blood flows like a river. Everywhere they show some shortcomings and difficulties. The people are tired of fighting and blood. (!)
We want to ask your advice on how to show a different life in our works: the life of the future, in which there will be no blood and violence, where there will be no those incredible difficulties that our country is experiencing today. In short, there is a need to talk about our happy and cloudless future life.
Fadeev fell silent.
Stalin began to walk slowly from one end of the presidium table to the other. Those present, holding their breath, waited for what he would say.
Stopping again near the standing Fadeev, Stalin spoke:
In your reasoning, Comrade Fadeev, there is no main thing, there is no Marxist-Leninist analysis of the tasks that life now puts forward for literary workers, for workers of art.
Once Peter I opened a window to Europe. But after 1917, the imperialists thoroughly beat him up and for a long time, fearing the spread of socialism to their countries, before the Great Patriotic War, they presented us to the world through their radio, cinema, newspapers and magazines as some kind of northern barbarians - murderers with a bloody knife in their teeth. This is how they portrayed the dictatorship of the proletariat. Our people were portrayed as dressed in bast shoes, in shirts, belted with a rope and drinking vodka from a samovar. And suddenly backward "bastard" Russia, these subhuman cavemen, as the world bourgeoisie portrayed us, utterly defeated two powerful forces in the world - fascist Germany and imperialist Japan, before which the whole world trembled in fear.
Today the world wants to know what kind of people they are who have performed such a great feat that saved humanity.
And humanity was saved by ordinary Soviet people, who, without noise and noise, in the most difficult conditions, carried out industrialization, carried out collectivization, radically strengthened the country's defense and, at the cost of their lives, led by the communists, defeated the enemy. Indeed, in the first six months of the war alone, more than 500 thousand communists died in battles on the fronts, and more than three million were killed during the war. These were the best of us, noble and crystal clear, selfless and selfless fighters for socialism, for the happiness of the people. We now miss them so much ... If they were alive, many of our current difficulties would have been behind us. This is the current task of our creative Soviet intelligentsia and consists in comprehensively showing this simple, wonderful Soviet man in their works, revealing and showing the best features of his character. This is the general line in the development of literature and art today.
Why is the literary hero created by Nikolai Ostrovsky in his book How the Steel Was Tempered Pavel Korchagin is dear to us?
He is dear to us above all for his boundless devotion to the revolution, the people, the cause of socialism, and his disinterestedness.
The artistic image in the cinema of the great pilot of our time Valery Chkalov contributed to the upbringing of tens of thousands of fearless Soviet falcons - pilots who covered themselves with unfading glory during the Great Patriotic War, and the glorious hero of the film A Boy from Our City, Colonel-tanker Sergei Lukonin - hundreds of thousands of heroes tankers.
It is necessary to continue this established tradition - to create such literary heroes- fighters for communism, whom the Soviet people would like to be equal to, whom they would like to imitate.
After waiting for the applause of those present, Stalin continued:
I have a list of questions that, as I was told, are of interest to the Soviet creative intelligentsia today. If there are no objections, I will answer them.
Exclamations from the audience: “We ask you very much, Comrade Stalin! Answer please!"
Stalin read out the first question:
- What are the main shortcomings, in your opinion, in the work of contemporary Soviet writers, playwrights and film directors?
Stalin: “Unfortunately, very significant. Recently, in many literary works Dangerous tendencies are clearly visible, inspired by the pernicious influence of the decaying West, as well as brought about by the subversive activities of foreign intelligence services. More and more often, works appear on the pages of Soviet literary magazines in which Soviet people, the builders of communism, are portrayed in a pitiful caricature. Ridiculed positive hero, the adulation of foreignism is promoted, the cosmopolitanism inherent in the political scum of society is praised.
In the repertoires of theaters, Soviet plays are supplanted by vicious plays by foreign bourgeois authors.
Small themes appeared in the films, a distortion of the heroic history of the Russian people ”.
Slowly going through the sheets with questions lying in front of him, Stalin read out the following question:
- How dangerous ideologically avant-garde direction in music and abstractionism in the works of artists and sculptors?
Stalin: “Today, under the guise of innovation in musical art, he is trying to break through a formalistic direction in Soviet music, and in artistic creation- abstract painting. Sometimes one hears the question: “Do such great people as the Bolshevik-Leninists need to deal with trifles - spend time criticizing abstract painting and formalistic music. Let the psychiatrists do it. ”
In such questions, there is a lack of understanding of the role in ideological sabotage against our country and especially the youth played by these phenomena. After all, with their help they are trying to oppose the principles of socialist realism in literature and art. It is impossible to do this openly, so they act undercover. In the so-called abstract paintings there are no real images of people whom I would like to imitate in the struggle for the happiness of the people, in the struggle for communism, along the path of which I would like to follow. This image is replaced by an abstract mysticism that obscures the class struggle of socialism against capitalism. How many people came during the war to be inspired for heroic deeds at the monument to Minin and Pozharsky on Red Square! And what can be inspired by a pile of rusty iron passed off by “innovators” from sculpture as a work of art? What can abstract paintings by artists inspire?
This is the reason why modern American financial magnates, promoting modernism, pay fabulous fees for such “works”, which the great masters of realistic art never dreamed of.
There is also a class background to the so-called Western popular music, the so-called formalistic direction. This kind of music, if I may say so, is created on the rhythms borrowed from the sects of the "shaker", whose "dances", driving people to ecstasy, turn them into uncontrollable animals capable of the most wild deeds. This kind of rhythms are created with the participation of psychiatrists, are built in such a way as to affect the subcortex of the brain, on the human psyche. This is a kind of musical addiction, falling under the influence of which a person can no longer think about any bright ideals, turns into cattle, it is useless to call him for a revolution, for building communism. As you can see, music is also at war. (Wow! Already in the 50s, Stalin clearly saw and realized the scale of future sabotage, see)
- What exactly is the subversive activities of foreign intelligence agents in the field of literature and art?
Stalin: “Speaking about the further development of Soviet literature and art, one cannot but take into account that they are developing under the conditions of a secret war unprecedented in history, which today the world imperialist circles have unleashed against our country, including in the field of literature and art. Foreign agents in our country have been tasked with infiltrating the Soviet cultural authorities, seizing the editorial offices of newspapers and magazines, exerting a decisive influence on the repertoire policy of theater and cinema, and on the publication of fiction. In every possible way to prevent the publication of revolutionary works that foster patriotism and raise the Soviet people to communist construction, to support and promote works that preach disbelief in the victory of communist construction, propagandize and praise the capitalist mode of production and the bourgeois way of life.
At the same time, foreign agents were tasked with promoting pessimism, all kinds of decadence and moral decay in works of literature and art.
One zealous American senator said: "If we could show our horror films in Bolshevik Russia, we would surely disrupt communist construction for them." No wonder Leo Tolstoy said that literature and art are the most powerful forms of suggestion.
We need to seriously think about who and what inspires us today with the help of literature and art, put an end to ideological sabotage in this area, until the end, it’s time, in my opinion, to understand and assimilate that culture, being an important component of the dominant ideology in society, always class and is used to protect the interests of the ruling class, in our country to protect the interests of the working people - the state of the dictatorship of the proletariat.
There is no art for art's sake, and there cannot be any “free” artists, writers, poets, playwrights, directors, journalists, independent of society, standing above this society. They just don't need anyone. Yes, such people do not exist, cannot exist.
Those who cannot or do not want to, in a situation of vestiges, traditions of the old counter-revolutionary bourgeois intelligentsia, due to rejection and even hostility towards the power of the working class to faithfully serve the Soviet people, will receive permission to leave for permanent residence abroad. Let them see with their own eyes what the assertions about the notorious bourgeois "freedom of creativity" mean in a society where everything is bought and sold, and representatives of the creative intelligentsia completely depend on the money bag of financial tycoons for their work.
Unfortunately, comrades, due to the acute shortage of time, I have to end our conversation.
I hope that to some extent I have answered your questions. I think that the position of the Central Committee of the All-Union Communist Party of Bolsheviks and the Soviet government on the further development of Soviet literature and art is clear to you. "
************************************************
Representatives of the creative intelligentsia greeted Stalin with applause and exclamations: "Long live the great and wise Stalin!"
Stalin stood for a while, looked with surprise at the cheering and shouting, waved his hand and left the hall.
Soon, four resolutions of the Central Committee of the CPSU (b) on literature and art were issued:
“On the magazines“ Zvezda ”and“ Leningrad ”, published on August 14, 1946;
“On the repertoire of drama theaters and measures to improve it,” promulgated on August 28, 1946;
“About the movie“ Big Life ”, released on September 4, 1946
On February 10, 1948, the Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the opera“ Great Friendship ”by V. Muradeli” was promulgated.
These are the most characteristic provisions of these decrees, which set the task of eliminating shortcomings and outlined the main path for the further development of Soviet literature and art.
About the magazines "Zvezda" and "Leningrad"
“Works” have appeared in which Soviet people are presented in an ugly caricatured form, primitive, uncultured, stupid, with philistine tastes and morals.
Poems appeared, imbued with the spirit of pessimism and decadence, expressing the tastes of the old salon poetry, frozen in the positions of bourgeois-aristocratic aesthetics and decadence - "art for art." Poets of this kind, if I may say so, do not want to keep up with their people and do great harm to the cause of the correct education of young people. Literary journals have published works that cultivate a spirit of servility towards the bourgeois culture of the West, which is unusual for Soviet people, and are imbued with a spirit of servility towards everything foreign. The desire to spread anti-Soviet ideas of cosmopolitanism in every possible way is clearly visible.
The leading workers of the journals have forgotten the position of Leninism that our journals, whether they are scientific or artistic, cannot be apolitical. They have forgotten that our journals are a powerful tool for the Soviet state in educating Soviet people, and especially young people, and therefore must be guided by what constitutes the lifeblood of the Soviet system - its policy.
The Soviet system cannot tolerate the education of young people in a spirit of indifference to Soviet politics, in a spirit of disregard and lack of ideas. The strength of Soviet literature, the most advanced literature in the world, lies in the fact that it is literature that does not and cannot have other interests, the interests of the people, the interests of the state. The task of Soviet literature is to help the state properly educate young people, to answer their requests, to educate a new generation to be vigorous, believing in their work, not afraid of obstacles, ready to overcome all sorts of obstacles.
On the repertoire of drama theaters and measures to improve it
After analyzing the repertoire of drama theaters, it is noted that after the war, plays by Soviet authors on contemporary themes were actually ousted from the repertoire of the country's largest drama theaters. They were replaced by plays of low-quality and vulgar foreign drama, openly preaching bourgeois views and morality. The theater staging of plays by bourgeois foreign authors was, in essence, providing the Soviet stage for the propaganda of reactionary bourgeois ideology and morality, an attempt to poison the consciousness of Soviet people with a worldview hostile to Soviet society, to revive the remnants of capitalism in consciousness and everyday life. Many Soviet playwrights stand aside from the fundamental issues of our time, do not know the life and needs of the people, do not know how to portray the best features and qualities of a Soviet person. The newspaper Sovetskoe iskusstvo and the magazine Teatr, designed to help playwrights and theater workers create ideologically and artistically full-fledged plays and performances, are being run completely unsatisfactorily. Good plays are timidly and ineptly supported on their pages, while mediocre and even ideologically flawed performances are boasted uncontrollably.
The Central Committee of the All-Union Communist Party (Bolsheviks) sets a task for playwrights and theater workers - to create bright, artistically full-fledged works about the life of Soviet society, about Soviet people. Promote further development best sides the character of the Soviet man, with particular force revealed during the Great Patriotic War. To respond to the high cultural demands of the Soviet people, to educate Soviet youth in the spirit of communism.
The unsatisfactory state of the repertoire of drama theaters is explained by the lack of principled Bolshevik theater criticism.
Reviews of plays and performances are often written in abstruse language, inaccessible to readers. The newspapers Pravda, Izvestia, Komsomolskaya Pravda, Trud underestimate the enormous educational value of theatrical performances and devote extremely little attention to art issues.
The Central Committee of the All-Union Communist Party (Bolsheviks) ordered the Committee for the Making of Arts and the Board of the Union of Soviet Writers to focus on creating a modern Soviet repertoire, to hold a meeting of playwrights and theater workers this fall on the issue of the repertoire and joint creative work of playwrights with theaters.
About the movie "Big Life" (second series)
The restoration of Donbass occupies an insignificant place in the film, and the main attention is paid to the primitive depiction of all kinds of personal experiences and everyday scenes. In view of this, the content of the film does not correspond to its title. Moreover, the title of the film Big Life sounds like a mockery of Soviet reality.
The film clearly mixes two different eras in the development of our industry. In terms of the level of technology and culture of production shown in the film "Big Life", the motion picture reflects the period of Donbass recovery after the end of the civil war, rather than the modern Donbass with its advanced technology and culture created over the years of the five-year plans.
Party workers are falsely portrayed in the film. The directors of the film portray the matter in such a way that the party can exclude from its ranks people who show concern for the restoration of the economy. The film "Big Life" preaches backwardness, lack of culture and ignorance. Completely unmotivated and incorrectly shown by the directors of the film, the mass promotion to leading positions of technically illiterate workers with backward views and moods. The director and screenwriter of the film did not understand that in our country, cultured, modern people who know their job well are highly valued and boldly promoted, and not backward and uncultured people, and that now, when the Soviet government has created its own intelligentsia, it is absurd and wild to portray as a positive phenomenon is the promotion of backward and uncultured people to leading positions. The film Big Life presents a false, distorted image of Soviet people. Workers and engineers restoring Donbass are shown as backward and low-culture people, with very low moral character... Most of their time, the heroes of the film are idle, engaged in idle chatter and drunkenness. The best people according to the concept of the film are heavy drinkers. The artistic level of the film also does not hold water. Individual frames of the film are scattered and not connected by the general concept. For the connection of individual episodes in the film, there are multiple drinks, vulgar romances, love affairs, nighttime rantings in bed.
The songs included in the film are imbued with tavern melancholy and are alien to Soviet people.
All these low-quality productions, designed for the most varied tastes and especially for the tastes of backward people, overshadow the main theme of the film - the restoration of Donbass.
The Central Committee of the CPSU (b) establishes that the Ministry of Cinematography (Comrade Bolshakov) has recently prepared, in addition to the vicious picture "Big Life", a number of other unsuccessful and erroneous films.
Thus, in the second series of the film "Ivan the Terrible" there is a distortion in the depiction of historical facts. The progressive army of the guardsmen of Ivan the Terrible is presented in the form of a gang of degenerates, like the American Ku-Klus-Klan.
Ivan the Terrible, a man with a strong will and character, contrary to the historical truth, is presented to the audience as weak-willed and weak-willed, something like Hamlet.
One of the reasons for the release of unfit films lies in ignorance of the subject, in the frivolous attitude of screenwriters and directors to their work.
The Ministry of Cinematography is irresponsible in its assigned work and shows carelessness and carelessness in relation to the ideological and political content and artistic merits of films. The Central Committee of the All-Union Communist Party (Bolsheviks) believes that the work of the Artistic Council under the Ministry of Cinematography is organized incorrectly and the Council does not provide impartial and business-like criticism of films prepared for release.
The Artistic Council often shows apolitical attitude in its judgments about paintings, pays little attention to their ideological content.
Art workers must understand that those of them who will continue to be irresponsible and frivolous about their work can easily find themselves behind the board of advanced Soviet art and go out into circulation, for the Soviet audience has grown, its cultural needs and demands have increased, and the Party and the state will continue to educate the people with good tastes and high demands for works of art.
About the opera "Great Friendship" V. Muradeli
The Central Committee of the All-Union Communist Party (Bolsheviks) believes that the opera Great Friendship, staged by the Bolshoi Theater of the USSR during the 30th anniversary of the October Revolution, is vicious, both musically and in terms of plot, an anti-fiction work.
The main shortcomings of the opera are rooted primarily in the music of the opera. The music of the opera is inexpressive, poor. There is not a single catchy melody or aria in it. It is chaotic and disharmonious, built on continuous dissonances, on sound combinations that cut the ear. Separate lines and scenes, pretending to be melodic, are suddenly interrupted by discordant noise, completely alien to normal human hearing and depressing the listeners.
In pursuit of the false “originality” of music, the composer Muradeli neglected the best traditions and experience of classical opera in general, Russian classical opera in particular, which is distinguished by its inner content, richness of melodies and breadth of range, nationality, graceful, beautiful, clear musical form, which made Russian opera the best opera in the world, the genre of music, beloved and accessible to the wide audience of the people.
Historically false and artificial is the plot of the opera, which claims to depict the struggle for the establishment of Soviet power and friendship of peoples in the North Caucasus in 1918-1920. The opera creates a false idea that such Caucasian peoples as Georgians and Ossetians were at that time at enmity with the Russian people, which is historically false, since the Ingush and Chechens were an obstacle to the establishment of friendship between peoples in the North Caucasus at that time.
The Central Committee of the All-Union Communist Party (Bolsheviks) believes that the failure of Muradeli's opera is the result of the formalistic path taken by Comrade Muradeli, which was false and destructive for the work of the Soviet composer.
As shown by a meeting of Soviet music figures held at the Central Committee of the All-Union Communist Party (Bolsheviks), the failure of Muradeli's opera is not a special case, but is closely related to the unfavorable state of modern Soviet music, with the spread of the formalistic trend among Soviet composers.
The characteristic features of such music are the denial of the basic principles of classical music, the preaching of atonality, dissonance and disharmony, which are supposedly the expression of “progress” and “innovation” in the development of a musical form, the rejection of such important foundations of a musical work, which is melody, a fascination with confused, neuropathic combinations transforming music into a cacophony, into a chaotic jumble of sounds. This music strongly resembles the spirit of modern modernist bourgeois music of Europe and America, reflecting the insanity of bourgeois culture, a complete denial of musical art, its dead end.
Trampling on the best traditions of Russian and Western classical music, rejecting these traditions as allegedly “outdated”, “old-fashioned”, “conservative”, arrogantly treating composers who are trying to conscientiously master and develop the techniques of classical music as supporters of “primitive traditionalism” and “epigonism” ”, Many Soviet composers, in pursuit of a falsely understood innovation, broke away in their music from the demands and artistic taste of the Soviet people, closed themselves in a narrow circle of specialists and musical gourmets, reduced the high social role of music and narrowed its significance, limiting it to the satisfaction of the perverse tastes of aesthetes individualists.
All this inevitably leads to the fact that the foundations of vocal culture and dramatic skill are being lost, and composers are unlearning how to write for the people, as evidenced by the fact that not a single Soviet opera has been created lately that is at the level of Russian opera classics.
The separation of some figures of Soviet music from the people has reached the point that a rotten "theory" has spread among them, due to which the people do not understand the music of many contemporary Soviet composers because the people allegedly "have not grown up" even before understanding their complex music, that he will understand it through the centuries and that one should not be embarrassed if some musical works do not find an audience. This thoroughly individualistic, fundamentally anti-popular theory helped some composers and musicologists to isolate themselves from the people, from criticism of the Soviet public, and stammer into their shells even more.
The cultivation of all these and similar views causes the greatest harm to Soviet musical art. A tolerant attitude towards these views means the spread among the workers of Soviet musical culture of tendencies alien to it, leading to a dead end in the development of music, to the elimination of musical art.
The vicious, anti-popular, formalistic trend in Soviet music also has a detrimental effect on the training and education of young composers in our conservatories, and, first of all, in the Moscow Conservatory (director Comrade Shebalin), where the formalistic trend is dominant. Students are not taught respect for the best traditions of Russian and Western classical music, they are not taught to love folk art, towards democratic musical forms.
The Central Committee of the All-Union Communist Party (Bolsheviks) states the completely intolerable state of Soviet musical criticism. The leading position among critics is taken by opponents of Russian realistic music, supporters of decadent, formalistic music.
Instead of smashing harmful views and theories alien to the principles of socialist realism, musical criticism itself contributes to their dissemination, praising and declaring “advanced” those composers who share false creative attitudes in their work.
Musical criticism has ceased to express the opinion of the Soviet public, the opinion of the people, and has become a mouthpiece for individual composers.
All this means that among some Soviet composers the vestiges of bourgeois ideology, fed by the influence of contemporary decadent Western European and American music, have not yet been eliminated.
The Committee for Arts under the Council of Ministers of the USSR (Comrade Khrapchenko) and the Organizing Committee of the Union of Soviet Composers (Comrade Khachaturian) instead of developing in Soviet music realistic direction, the foundations of which are the recognition of the huge progressive role of the classical heritage, especially the traditions of the Russian musical school, the use of this heritage and its further development, the combination in music of high content with the artistic perfection of the musical form, the truthfulness and realism of music, its deep organic connection with the people and their musical and songwriting, high professional skill with the simultaneous simplicity and accessibility of musical works, in fact, encouraged a formalistic direction, alien to the Soviet people.
The organizing committee of the Union of Soviet Composers has become an instrument of a group of formalist composers, and has become the main breeding ground for formalistic perversions. The leaders of the Organizing Committee and the musicologists grouping around them praise anti-realist, modernist works that do not deserve support, and works that are distinguished by their realistic character, the desire to continue and develop the classical heritage, are declared secondary, remain unnoticed and criticized.
Soviet composers have an audience that no composer has ever known in the past. It would be unforgivable not to use all these richest opportunities and not direct your creative efforts along the correct realistic path.
The resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) called on Soviet composers to become aware of the high demands that the Soviet people make for musical creativity, and, throwing out of their way everything that weakens our music and hinders its development, to ensure such an upsurge of creative work that will quickly move the Soviet musical culture and will lead to the creation in all areas of musical creativity of full-fledged, high-quality works worthy of the Soviet people.
JV Stalin's meeting with representatives of the creative intelligentsia and the Resolutions of the Central Committee of the All-Union Communist Party of Bolsheviks reliably paralyzed ideological sabotage in the fields of literature and art by the agents of American-British imperialism, at the same time helped erroneous creative workers to correct their mistakes.
The cosmopolitans were defeated, and the correct development of Soviet literature and art was assured.
Stalin's meeting with representatives of the creative intelligentsia and the resolutions of the Central Committee of the All-Union Communist Party of Bolsheviks written by him on issues of literature and art show how versatile his mind was, how Stalin saw ahead for many decades. He understood that in the future, after he was gone, active attempts would begin to restore capitalism in the USSR, and that here the ideological sabotage in literature and art, suppressed by him, would play an important role.
Subsequently, it turned out that way.
Notes (edit)
1. In his memoirs, Winston Churchill wrote that when Stalin, busy with the leadership of operations at the front, somehow arrived late for one of the meetings of the Yalta Conference, they agreed with Roosevelt that, as leaders of the great powers, they would not stand up when he appeared in the hall.
When Stalin entered, to his great surprise, Churchill found himself greeting him standing with everyone. Roosevelt rose in his arms in his wheelchair.
By chance, this week I was able to see the program "First Studio" from 07/05/2017, I will not list everyone who was there, but I still want to return to one person. This is Josif Reichelgauz. This figure, without batting an eye, began to defend our entire country, not without the well-known Alexei Goncharenko, the one who took selfies with the corpses of people in the burned-out House of Trade Unions in Odessa.
This bastard is shielded by Reichelgauz. He said about him that he fights for friendship with Russia and prevents the introduction of visas. You and I remember what this creature said, taking pictures of the burnt bodies of dead people. All this can be found on the net, no matter how hard these scum try to erase history.
Now let's take a look at the "creative" fate of Reichelgauz himself.
As Wikipedia informs us with reference to the Lyceum newspaper, “Iosif Raikhelgauz was born and raised in Odessa. In 1962-1964 he worked as an electric and gas welder at a motor depot. In 1964 he entered the Kharkov Theater Institute at the directing department, but I was expelled in a week with the wording: "Professional unsuitability". In 1965, Raikhelgauz became an artist of the auxiliary staff of the Odessa Youth Theater. In 1966 he came to Leningrad and entered the directing faculty of LGITMiK. And again, in the same year, he was expelled for professional incompetence... In 1965-1966 he was a stage worker at the Leningrad BDT im. Gorky. In 1966 he entered the Faculty of Journalism of the Leningrad State University, where he was finally able to take up directing: he became the head of the student theater of Leningrad State University. In 1968, Joseph Raikhelgauz left the university and entered the directing department of GITIS, in the workshop of M.O. Knebel and A.A. Popov. At the same time he worked as a director at the famous student theater of Moscow State University, in 1970 he led student concert teams for servicing the builders of Siberian hydroelectric power plants. In 1971, he passed directing practice at the Central Theater Soviet army, but the play “And did not say a single word” based on the story by G. Böll, was not allowed to be shown. In 1972 he staged his pre-graduation performance, "My Poor Marat" based on the play by A. Arbuzov, in his native Odessa. " +
The coryphaeus was twice taken out on kicks from theatrical universities, and, for the first time, from the provincial. But Melpomene did not let go back to the electric and gas welders. He went into amateur performances, hitting William, you know, ours, Shakespeare. On the basis of amateur performance, he grew not weak calluses on his buttocks and took GITIS for starvation. But he didn’t give up his amateur performances - it’s sacred in the north, among the harsh and well-earning people who yearned for culture, even in the form of an amateur cultural enlightenment. Fir-trees of the lyceum are fed for a whole year, yes! The very first performance at the TsTSA was rejected. With his hack, he could only get out in his native Odessa. Until 1993, he was widely known in narrow circles. He became a laureate and a luminary only under the drunkard Yeltsin, when the honorary and people's titles were handed out for the party card burned in front of witnesses. In short, a typical representative of the society "Down with routine from the opera stage!" Is it any wonder that Pinocchio's from his theater are ready to work for food?
Interesting after all. what connects this figure of Melpomene with Goncharenko? But what - his "Theater modern play"- a miserable and unprofitable institution. And if you quarrel with Goncharenko, then the faucet of the meager stream of groins received by the theater from seasonal chees in Odessa, or other cities and towns of Ukraine, can be closed at any time. In Ukraine, after all, they are not aware that the viewer does not go to the performances of Reichelgauz, but is guided by the fact that, “here is a director from Odessa, in Moscow he is in charge of the theater - you have to go!” ... - and this is quite a zapadlo for a director with a stable ahedzhaknut worldview "oh, forgive us Bandera, ISIS and everything, everything, everything!"
But that's not all, here is an excerpt from his interview on a very "free and democratic" radio from Russia.
“There is the surname Goncharenko, which is being shaken. But in fact, Aleksey Goncharenko is an intelligible, talented, competent, young, energetic, serious, deep, honest politician who is always trying to help his city, his people, and so on. I understand what's going on with the radios. "
“There were pro-Russian tents that were waiting for“ Donbass will be here. ”There are many tents. And, since March, these tents came out with Russian flags, they walked along the central streets (this is Kulikovo Pole). They walked along the streets, smashed shop windows , they pierced the cars, shouted the most different ... And nevertheless, they did not interfere, because such was the situation - after the Maidan situation.
This monstrous day came on May 2, when football was supposed to be, when the so-called Westerners arrived, among whom, of course, were thugs, fascists, scoundrels. But there were also among these. And there was Transnistria, and there were unemployed, and those who were fed from nowhere for money. And these went to the center, those went to the center. These chased those - they ran into the house. These began to throw bottles with the mixture into the house - the house caught fire. Those from the house began to be thrown into the tents - the tents caught fire. And it began! "
How is it? Is it drawn?This is the People's Artist of the Russian Federation !!
I just want to ask him from what people? And why did this people not burn in the Odessa House of Trade Unions?
He is also a figure in everything and a member of the Public Council of the Russian Jewish Congress. Isn't it some kind of monstrous grimace of time, a representative of the people who screams about the Holocaust at every corner, fights to the death for the man who welcomed the burning of people in Odessa.
On Friday, August 12, a conference of cultural workers of the Samara region was held in Samara for the first time. Cultural figures, representatives of municipalities, creative unions, public organizations discussed the results of the work, identified the existing problems and outlined plans for the active and meaningful development of the cultural sphere of the region. Governor Nikolai Merkushkin took part in the forum.
The conference was opened by the Minister of Culture of the region Sergey Filippov. He noted the primary task that President Vladimir Vladimirovich Putin has set for creative people.
"Our main task is to strengthen the spirituality and culture of our country. In the current difficult socio-political situation, culture is the spiritual and moral core that allows us to maintain our identity and look confidently into the future. For this, we must keep up with the times and not lag behind the trends of modern society, "the minister said.
Sergei Filippov stressed: "If we do not introduce new forms of work, use modern technologies that will attract people to us, we will not be able to fulfill the tasks set."
The head of the Ministry of Culture noted that in last years much has been done to develop culture in the region. Serious work is underway on the territory aimed at preserving the classical theatrical heritage. Bright premieres, drama and opera performances, tours of leading Russian theaters, festivals stimulate Samara residents' interest in cultural institutions. The creative teams of the region successfully defend the honor of the region at major festivals, including the "Golden Mask".
The museum direction is developing thanks to, among other things, active joint activities with the largest museums in Russia. One of striking examples- now works from the collection of Samara art museum are exhibited in the framework of the exhibition of Ivan Aivazovsky in the Tretyakov Gallery.
To support talented youth, dozens of festivals are held in the region; young Samara residents take part in hundreds of all-Russian forums and training events. As a rule, they will not be returned without awards. Gifted children receive personal scholarships from the governor, and in general, up to 10% of graduates of the Samara region choose creative universities.
The most important area of work of the Ministry of Culture is the national-cultural organizations of the region. As a rule, festivals and national holidays in the region are celebrated by all denominations together. "We are showing an example of how you can organize life, excluding mutual conflicts," said Sergei Filippov.
The minister also noted the problems, first of all, personnel: the average age of cultural workers is more than 50 years, the industry employs about 25% of people of retirement age. However, support for young professionals - creative scholarships, governor's awards and grants - is gradually changing the percentage. wage of workers of culture in recent years has grown by 2-3 times and is the highest in the Volga Federal District.
1 billion rubles were allocated for the overhaul of 115 municipal cultural institutions. Completed work in the Syzran Drama Theater, in the Neftyanik CDC in Neftegorsk, the art school in Chapaevsk and the library in Dubovoy Umet were restored.
The restored SamART, children's art schools in Otradnoye and Kinel-Cherkassy will open soon, a puppet theater and a large cultural and recreational center in Bolshaya Glushitsa will open soon. And this is only a small part of what was done with the support of the governor of the Samara region, the regional government, patrons, said Sergei Filippov.
Summing up, the Minister of Culture turned to his colleagues: “We are faced with the task of reaching a new level of development of the culture of the region. an example for fellow citizens. Workers of culture, along with teachers and doctors, have always constituted the basis of civil society. They have always been believed and followed. "
"Our work echoes with you," Nikolai Merkushkin turned to the creative intelligentsia. "We are doing one thing - we educate the younger generation and shape the culture as a whole. It is this that determines the level of development of our society."
The head of the region drew attention to the fact that the lion's share of requests and wishes of Samara residents is always associated with art and creativity. "This is a feature of our mentality. That is why we occupy leading positions in the region and in the country in the most important areas of culture. We must support the desire for beauty in every possible way," the governor said.
He noted that every renovated or built cultural institution "should expand our understanding of beauty and attract young people to art." Cultural objects, according to Nikolai Merkushkin, should correspond to their purpose as much as possible and bring joy for many years.
Nikolai Merkushkin also said that grant support for gifted children and children's art schools will continue. As for the latter, the head of the region suggested supporting not only the best, but also promising institutions: "This will be an incentive and opportunity for them to develop more actively."
He stressed that the support of culture is necessary for society: “Step by step we will do everything possible so that a well-mannered, creative, educated, healthy and competitive generation grows up in our country. Without this, it is impossible to count on the success of our country, our native land. culture of the Samara region at a high level. "
Director of the Children's Art School Otradny Iraida Zyulmanova noted from the stage that "at all times culture was at the forefront in the struggle for the souls and hearts of people."
“In culture, there are devotees devoted to their work with their souls, ready to put personal passions on the altar of the profession,” she said and turned to the head of the region: “Nikolai Ivanovich, you protect the Samara province and its people, find truly creative, extraordinary solutions in difficult situations. I can say: you are ours, you are a man of culture. Only creative people are able to work as selflessly as you. "
Folk ensemble "Shentalinka" on behalf of all amateur groups in the region thanked Nikolai Merkushkin for the provincial festival "Born in the Heart of Russia": "Nikolai Ivanovich, you do not let us get bored and always keep us in a creative tone."
Within the framework of the cultural forum, the governor awarded representatives of the creative intelligentsia and presented grant certificates for new projects. The Honorary Badge "For Labor for the Good of the Samara Land" was given to Honored Artist of the Russian Federation Rudolf Baranov, People's Artist of the RSFSR Anatoly Ponomarenko, writer Ivan Nikulshin.
Olga Shapiro, deputy director of SamART, also received the award. “I want to say gratitude to everyone who has been around these years: actors, spectators, the Ministry of Culture and you, Nikolai Ivanovich, for understanding the importance of our theater for the province,” she said with tears in her eyes.
The soloist of the ballet Ksenia Ovchinnikova became the Honored Artist of the Samara Region, and the President of the Volga Historical and Cultural Foundation Maria Serkova and the representative of the national and cultural autonomy of the Kazakhs "Ak Zhol" Aigul Zhalelova became honored workers.
The memorial sign "Kuibyshev - a spare capital" was presented to the Samara Academic Opera and Ballet Theater.
General Director Natalia Glukhova received the award. She noted that there were many bright pages in the history of the theater. In particular, the creative teams evacuated to our city during the war not only performed on stage, but also donated blood, looked after the wounded. "It was the position of the people. The badge of honor is the relay race of that time. It is worth a lot. We have a high mission - we have been and remain the center of the city's cultural, musical and social life," said the head of the theater.
At the end of the conference, the head of the region noted that the peculiarity of creative people is to let everything through themselves. "When this happens, you give out things that touch the soul. Thank you for that!" - he said.
After the end of the forum, the governor was not released for another half hour. Nikolai Merkushkin was asked to support the Samarskaya Luka magazine, as well as to help strengthen the friendship between the Samara region and Uzbekistan: “Let's do this, and then we will invite their delegation to Samara land, to iVolga”.
The head of the region received a special gratitude from the representatives of the cultural and educational center "Heritage" from Chapaevsk. Natalia Shirokova and Marina Kirillova expressed a common opinion: "The creative intelligentsia is always with you!"
A.P. Chekhov entered the literature of the 80s of the XIX century immediately as an innovator, in many respects unlike any previous or other writers around him. The innovation consisted, first of all, in the choice of the genre: Chekhov was a master of "small forms", short story... Also unconventional was the manner of narration, brevity, laconicism; the theme of the stories is also unusual. Thus, one of the leading themes of the mature period of Chekhov's work is the depiction of the life of the Russian intelligentsia. Using a variety of artistic means, the author created a number of vivid, typical images of representatives of the working and creative intelligentsia, and also reflected the problems and conflicts that arose in its environment.
In the stories, the entire intelligentsia as a social stratum, a certain set of people united by professionalism and personal qualities, can be divided into labor (doctors, teachers) and creative (artists, artists, musicians), and this division sometimes even develops into an antithesis, for example in the story "Jumping". Here, representatives of the creative intelligentsia are clearly described satirically: the author disdainfully treats the artist Ryabovsky, as well as all the artists, musicians and writers who visit the house of Olga Ivanovna, the main character. It emphasizes the pretense, unnaturalness of words and deeds, monotony and vulgarity prevailing in the "creative" environment. The image of Ryabovsky is lowered: Chekhov sneers at the eternal tired look and the phrase "I'm tired", pronounced by the hero several times with the same theatrical intonation. Actually, the course of events, the development of the plot reveal the inner essence, hidden behind the pleasant appearance of Ryabovsky's vices, who, as it turned out, considers any of his actions, even immoral ones, to be justified by his “creative” character, inconstancy, and a tendency to change. In the story "Jumping", the creative intelligentsia is opposed by representatives of the labor, doctors Dymov, Korostelev, Shrek. Perhaps they can be called the closest to the author's ideal: they are people of labor, people of science, selfless and invisible at the same time. Dymov dies tragically, accidentally, absurdly; only after his death his wife, Olga Ivanovna, understands what he was in life for science, friends and patients. Dymov could not resist vulgarity in relationships, in the family; however, he turns out to be morally incomparably higher than Olga Ivanovna and her friends, and after his death Korostelev pronounces a verdict of everyday vulgarity, vulgarity, in fact blaming Olga Ivanovnu for the death of a talented, meek, irreplaceable person.
Chekhov despised and ridiculed vulgarity in all its manifestations, including in creativity. In the story “Ionych”, at the evening of the most intelligent family in the city, the hostess reads a novel that begins with the words: “The frost was growing stronger ...” Here Chekhov demonstratively ridicules literary clichés, banality, and the absence of new, fresh ideas and forms. The problems of finding new things in art and creativity will be developed in Chekhov's plays.
The writer and the working intelligentsia are no less critical and strict. These are mainly doctors, which is probably connected with Chekhov's profession, as well as teachers as the most educated part of the intelligentsia, on which the future depends. These heroes, as a rule, are presented by the author with a choice: to join the gray mass of vulgar, uninteresting people, to allow themselves to be drawn into the swamp of the bourgeois life with its pettiness and routine, or to remain a person, to preserve human dignity, interest in people and everything new. The stories show the full range of possible solutions to the problem. Perhaps the extreme case is Belikov, the hero of the story "Man in a Case". The image is typical for all the grotesque; Belikov is a limited person who lives in his own small, deaf, frightened world with one thought: "No matter how something happens." Chekhov uses an interesting artistic technique: transferring the properties of a person, indirectly and allegorically depicted, onto his things, directly and specifically: “He had an umbrella in a case, and a watch in a gray suede case, and when he took out a penknife to sharpen a pencil, then he also had a knife in a sheath. " These details (like many others, for example, the very subject that Belikov taught - Greek, dead, also helping the hero escape from reality into his own world) with strokes sketch out a clear image of a person living in a "case", preventing himself and others from living, a teacher, about whom a colleague says: "I confess, it is a great pleasure to bury people like Belikov." Belikov is shown in the story as static, frozen.
In another story, "Ionych", Chekhov depicts a change inner peace, the degradation of a person who did not resist the surrounding vulgarity. At the beginning, the hero's name is Doctor Startsev, in the final - Ionych. Chekhov again uses a detail to depict changes in the soul, in principles, beliefs, demeanor, lifestyle of Dr. Startsev. For example, at the beginning of the story, the hero prefers to walk, leads an active lifestyle ("Having walked nine miles and then going to bed, he did not feel the slightest fatigue, but on the contrary, it seemed to him that he would gladly walk another twenty miles"); in the second part he already has "his own pair of horses and a coachman"; in the third - "three with bells"; The very composition of the story, the parallelism of the scenes in the garden, the relationship with Katerina Ivanovna reveal the main character traits, emphasize the irreversibility of the process of degradation, so logical and natural in conditions of general intellectual and spiritual stagnation.
In his stories, Chekhov shows how the best representatives of the Russian intelligentsia perish. This is the story "Ionych". The plot of the story "Ionych" is simple - it is the story of the failed marriage of Dmitry Ionych Startsev. In fact, the story is the story of the hero's whole life, lived senselessly. This is a story about how a good person with good inclinations turns into an indifferent man in the street. This is a young man, full of vague, but bright hopes, with ideals and desires for something high. But a love failure turned him away from striving for a pure, intelligent life. He succumbed to the vulgarity surrounding him from all sides. He lost all spiritual interests and aspirations. From his consciousness disappeared the time when he was characterized by simple human feelings: joy, suffering, love. We see how a person, intelligent, progressively thinking, hardworking, turns into a man in the street, into a “living ghoul”. We see his moral degradation.
Such heroes of Chekhov as Ionych lose that human that nature has endowed them with. But they themselves are satisfied with themselves and do not notice that they have lost the main thing - a living soul.
In his works, Chekhov shows how the thoughtless joy of everyday existence can imperceptibly lead even a living and susceptible person to complete spiritual devastation.
Chekhov's skill as a novelist lies in the fact that in short sketches from life he was able to reflect the types, images, relationships typical of his time, he was able to snatch out the main, essential, basic from what was happening around. The image of the Russian intelligentsia of the 90s of the XIX century, for which the author used skillful detailing, comparisons, composition of stories, different ways narration, represents not only literary, but also historical value, helps to penetrate into the world of Russian society, of that time, to shed light on the eternal problem of the role of the intelligentsia in the life of Russia.
Ticket.
Themes and poetics of the novel by F.M. Dostoevsky's "The Brothers Karamazov".
The Brothers Karamazov (1879 - 1880) is Dostoevsky's last and greatest novel, incorporating almost all types of his heroes, all collisions and all methods of depicting them.
In the novel, from the very beginning, the hagiographic orientation of the narrative is felt. This concerns the storylines associated with Elder Zosima, the Karamazov family: Alyosha, Mitya, Fyodor Pavlovich and Ivan. The very manner and principles of presenting events are also focused on the ancient Russian tradition: the installation on artless impartiality, edifying passages, the inclusion of religious and philosophical reasoning and moralistic maxims, etc. Again, as in "Demons", the narrator-chronicler (fictional storyteller) appears as a chronicler and hagiographer. Gives credibility to the narrative. Story: hurried in places (full of contradictions and even vulgarisms), in places stretched out (full of solemnity and pathos, but always excited and devoid of emphasized dispassion. Dost is a hagiographer, he is not impassive.
In the center of the writer's attention are the events that unfolded in the town with the telling name Skotoprigonievsk, where (in comparison with the capital) contradictions tearing apart the Russian nature and the national spirit are more obvious. The Karamazov family, a variant of the "random family", an artistic model of all-Russian antinomies. This is, on the one hand, the destruction of patriarchal principles, the loss of the Orthodox foundations of life, spiritual nihilism and immoralism, on the other, Christian asceticism, centripetal spiritual forces that determine the strength of blood and religious brotherhood, and finally, conciliarism.
Each of the Karamazovs is a type of Russian person. In the psychological aspect of depicting the personality, the heroes realize Dostoevsky's aesthetic attitude to exaggerate passions and sufferings.
The head of the family is the provincial nobleman Fyodor Pavlovich Karamazov - an "insect" who has reached the brink in unbridled voluptuousness. Poser's foolishness is combined with overt cynicism. Denies the meaning of life, the indifferent acceptance of death as absolute non-existence. The most important feature of the plot structure of "BK" is connected - adventurousness. Typical plot situations, such as a series of "adventures" in the past, a fatal love encounter, a mysterious murder.
Each of the four brothers embodies and tests their own "truth." All together, like mirrors, they reflect each other, in some ways they repeat, in some ways they oppose each other. The poles of this confrontation are the lackey Smerdyakov - Karamazov's son from the insane Lizaveta Smerdyaschaya, who hates not only his father, brothers, but Russia in general (he is an extreme version of the "underground man"), and the youngest of the brothers Alyosha Karamazov. Alyosha is a type of righteous person in the world. He has more kind words on his account. Alyosha and his older brother Dmitry are united by their natural love of life. Mitya Karamazov represents the type of "Russian ugliness". A temperamental person, unbridled in desires, he is unable to curb his bad impulses. It is no coincidence that his name also carries a "transparent" semantic load: Demeter is the Greek goddess of the earth, fertility. And Dmitry is torn apart by earthly passions, full of unbridled elemental forces. (Note that the name Karamazov literally means “black land.”) He fervently believes in God, but at the moment of committing an outrage, Christian values lose their power for him. But realizing this, he accepts hard labor with humility
With Ivan, an intellectual nihilist, Alyosha, unexpectedly for him, is connected by a rebellious outburst of revenge on those who kill innocents. "Shoot!" - he exclaims after Ivan's story about the inhuman reprisal against the child.
Ivan Karamazov is a hero-ideologist. The chapter "Pro and Contra" is the culmination of the conflict of ideas in the novel. Ivan in the tavern (the tavern is a significant point in Dostoevsky's world of artistic space) argues with Alyosha about the "last questions" of being: existential meanings are tested on a universal scale, the problem of freedom is directly linked to religious faith. Ivan presents a criminal idea - Smerdyakov carries it out. Both are equally paricidal.
It has long been noted that parricide in the novel is a metaphor for regicide. The hidden myth of the novel about Oedipus actualized the political relevance and prophetic impulse of the novel: a few months after publication, Alexander II was assassinated.
Subject: the theme of the family - through the family all social cataclysms are shown here. The father did not take care of the children at all, he practically abandoned him to the mercy of fate. Perverted relations: father and son love one girl
Philosophical theme- the foundations of the world order, the restlessness of the human spirit.
The religious and philosophical problem of theodicy in the artistic world "BK", which is cross-cutting for all of Dostoevsky's work, allegorically closes in on the name of the Old Testament Job. This biblical character is evaluated differently in the theological and philosophical (existential) traditions: as an exponent of longsuffering and desperate questioning of God, Ivan emphasizes Job's “dispute” with God, his harsh questions, his daring. Elder Zosima thinks about Job differently. He accepts God not as an external force, but as an internal foundation of man.
The religious theme is the theme of the embodiment of biblical teaching and imagery. Zosima, who understands the power of religious doubts, is a conscious preacher of Christian principles and the ideology of self-sacrifice, and also a preacher of monasticism in the Russian world. Alyosha, who was thinking of going to a monastery, he decides to transform life through himself, being in the world - in an ordinary human community.
The theme of parricide (Smerdyakov kills not only out of revenge, but also from theory everything is allowed, the cat was invented by Ivan - if there is God and immortality, then there is virtue; if there is no immortality, there is no virtue = everything is allowed) and false accusation, the theme of good and fraternal love, death theme
Job's theme, the theme of human weakness before earthly gifts, the theme of long-suffering - the sufferers are members of the Snegirevs family, not an individual person, but a family in which, it seems, all the misfortunes of a family nature have come together: the death of a child (Ilyushechka), dementia (Mommy), weakness (Ninochka), the alienation of children from their parents (Varvara), poverty common to all.
POETICS: genre variety - tragedy novel, ideological, socio-philosophical novel. It is a polyphonic novel, for the author's word here sounds in the chorus of equal voices of the heroes, each of whom has his own “word about the world,” his own truth. (for Smerdyakov, the murder of Fyodor Pavlovich is revenge for the abused and humiliated mother, for the shame of his own existence as a lackey son).
BINDING: Mitya's arrival (father's suspicion of fraud in the division of property), meeting of FP and Mitya in the monastery, their rivalry over Grushenka. INTERCONNECTION: Smerdyakov's confession to Ivan during the last date. Mitya's court. CULTURE: chapter pro and contra. See above.
KEY MOTIVE: The tragic and dark demise of FP.
The action is developing extremely rapidly. 3 days before the "disaster" and 3 days after, at short intervals.
IDEA of a crime (Smerdyakov, Mitya - a miracle saved him from killing his father)
The novel is based on a sharp opposition of persons and events: on one pole there are moral monsters - Fyodor Pavlovich, Smerdyakov, on the other - "angels", Alyosha and Zosima. Skotopigonyevsk is opposed by a monastery, a voluptuous - by a Russian monk.
Themes and poetics of the story by L.N. Tolstoy's "The Death of Ivan Ilyich".
The hero's insight, moral, spiritual transformation on the verge of death - the plot of the story The Death of Ivan Ilyich (published in 1886). A terminally ill senior official Ivan Ilyich is convinced how empty his life was, in which he followed the same rules and habits as other people in his circle. The story is built on the contrast of Ivan Ilyich's new ideas about life and opinions characteristic of his family and colleagues.
In the face of death, L. Tolstoy asserts, a person realizes the meaninglessness of activity only for himself, and he is looking for a new meaning of life. Before his death, Ivan Ilyich comes to the realization of the contradictions of his actions, his life with "conscience" and "reason", to the idea of the need for moral revival, "enlightenment", which he finds in self-improvement. The revealing, satirical power of the thoughts and images of this story is great.
During the creation of "The Death of Ivan Ilyich" Tolstoy believed that "enlightenment" is possible for all people, including those who have been exposed. Here is the limit to the satirical power of the story, which is inferior in this respect to "Resurrection". The strongest side of "The Death of Ivan Ilyich" is the artist's ingenious penetration into the mental life of a dying person, in the disclosure of the "dialectic of the soul" before death.
A member of the Trial Chamber Ivan Ilyich Golovin, having married at one time without love, but very beneficial for his own position, makes a very important step in life - moving. His business is going well, and, to the delight of his wife, they move to a more worthy and prestigious apartment.
All the worries and worries about the purchase of furniture, the furnishings of the apartment occupy the first place in the family's thoughts: "So that it is not worse than others." What kind of chairs should be in the dining room, should the living room be upholstered with pink cretonne, but all this should certainly be "on a level", in other words, exactly repeat hundreds of the same apartments.
Feeling himself a burden, Ivan Ilyich became even more irritated and capricious, but finally, the death-redeemer approached him. After a long agony, a miracle suddenly happened - never thinking about that "great", Ivan Ilyich felt a feeling of all-embracing love and happiness unknown to him.
He was no longer offended by the callousness of his relatives, on the contrary, he felt tenderness for them and happily said goodbye to them. With joy, he went to a wonderful, sparkling world, where, he knew, he was loved and met. Only now did he find freedom.
The position of the "middle son" and his role in the disclosure of the author's intention.
II Golovin was the middle son of an official who made an ordinary career, an average man in all respects: in character, behavior, intelligence. Cheerful and sociable, I.I. distinguished by an emphatically honest, scrupulous attitude to his official duties, the ability to adequately keep himself in the light, where he intuitively gravitated towards the society of people at a higher level of the social ladder.
L. Tolstoy seeks to emphasize not so much individual characteristics personality of a person, how many typical features of people of a certain environment and occupation. For example, describing an apartment that Ivan Ilyich arranged with such thoroughness, L. Tolstoy writes: “In essence, it was the same thing that happens to all not quite rich people, but those who want to be like the rich, and therefore only look alike. on a friend. "
Things reveal the reigning coldness and falsity.
In Tolstoy, not things in themselves, but a person's attitude towards them characterizes his state of mind. The poverty of the inner world of Ivan Ilyich's wife is emphasized by her story about her husband's suffering. According to her, he, “without translating his voice,” shouted for three days. But not his torment, but the way his cry acted on her nerves, occupied Praskovya Fyodorovna.
Poetics: The death of Ivan Ilyich is the pivot on which the entire narrative is strung. The main problems posed in it are the most important questions of human existence. This is an analysis of the mental state of a person, Ivan Ilyich Golovin, who lives his life without meaning and unconsciousness and is put by a serious illness and the expectation of death face to face with eternal question about the secret of life.
LINK: the story begins with a message about the death of Ivan Ilyich Golovin. Thus, the thought of a person's death accompanies, according to Tolstoy's plan, everything that is told about his life. So, each of Ivan Ilyich's colleagues does not think about the death of a comrade, but immediately begins to figure out how this death will affect him and his loved ones (moving through the post, receiving a higher salary).
The story "The Death of Ivan Ilyich" - "a description of the simple death of a common man"; it is based on known to the writer medical history and death of the former prosecutor of the Tula court Ivan Ilyich Mechnikov. The hero of the story is Ivan Ilyich Golovin, the middle son of an official who has made an ordinary career, an average person in all respects, who consciously put the ideal of "pleasantness and decency" as the basis of his life, the desire to always focus on the society of people at a higher level of the social ladder. These principles never changed the hero, supporting him in all life circumstances, until he was overtaken by a sudden incurable disease... Under the influence of a developing illness and misunderstanding of loved ones, Ivan Ilyich, deprived of any significant interests, deep and sincere feelings and a real purpose in life, childhood, it was "not that" that there is the main question of life and death, at the moment of which he is freed from fear and sees the light.
If in the story “The Death of Ivan Ilyich” the hero is going through an acute conflict in which moral and ethical and social reasons are intertwined, then in the “Kreutzer Sonata” the writer returns, at first glance, to the private theme of family and marriage, which has already been the subject of depiction in the novel “Anna Karenina ". However, Tolstoy deepens this topic, highlighting the denunciation of the modern institution of marriage as a relationship of purchase and sale. The story is the confession of its protagonist Pozdnyshev, who out of jealousy killed his wife and, under the impression of this act, rethought his past life. A moral upheaval takes place with the hero. Recalling his youth and the history of family life, Pozdnyshev admits his main guilt in the fact that he did not see and did not want to see a man in his wife, did not know her soul, but looked at her only as an "instrument of pleasure." In this story, Tolstoy's thought, which is constantly present in later works, sounds especially clearly that everything living, sincere, human has gone out of relations between people, that they have become determined by lies and material calculation. Under the influence of such circumstances, in the mind of Pozdnyshev, for example, a "beast" of jealousy is born, originating in animal sensuality, with this "beast" he cannot cope, and it leads the hero to a tragic ending.
Ticket.
In the novel by F.M. Dostoevsky's "The Brothers Karamazov" is central to the Legend of the Grand Inquisitor. This is a lengthy retelling by Ivan Karamazov to his brother Alyosha of the content of his supposedly composed poem. Here is one of the culminating points of the composition of the novel - the focus of the ideological disputes of the heroes of the novel.
The meaning of the Legend for Dostoevsky: "to instill in the souls the ideal of beauty."
PURPOSE: "the image of extreme blasphemy and the grain of the idea of destruction of that time in Russia, in the midst of young people detached from reality", which is represented in the novel by Ivan Karamazov. Dostoevsky believed that human nature cannot be reduced to the sum of rational grounds. Its plot is based on the fictional coming of Christ to medieval Italy, where the Catholic Inquisition was raging. (+ other tzr. Basis - the plot about the three temptations of Christ by the devil in the desert - bread, power, ideal knowledge of the world. The growing power of temptations. Taking them a person turns into a trembling creature). The Sicilian inquisitor is ready to send the Son of God, the Teacher to the fire, so long as he does not interfere with the preaching of humanism and freedom to implement the Teaching by the methods of the inquisitor (incompatible). The methods of the inquisitor repeat the arguments of Raskolnikov and Shigalev: people, insignificant by nature, cannot cope with freedom. => they gave freedom for bread, freedom was taken away from people for their happiness. The inquisitor is sure of this, because he cares about humanity in his own way. He is a man of ideas. Christ has a different understanding of man - a high one. He kisses the lips of the Inquisitor, seeing in him the most lost sheep of his flock.
Alyosha feels the dishonesty of the Inquisitor, the cat uses the name of Christ to achieve his goals. Ivan, juxtaposing 2 points of view, wanders to the inquisitorial room. He does not believe in people, he denies the world itself, created by God. Ivan is on the side of those who rebel against the Creator. Ivan's reasoning: if God allows the suffering of innocent, absolutely sinless creatures, then either God is unjust, unworthy or not omnipotent. And he rejects the highest harmony established in the world finale: "It is not worth a tear of at least one ... a tortured child." But, "returning the ticket" to the Kingdom of Heaven, disappointed in the highest justice, Ivan makes a fatal, essentially illogical conclusion: "Everything is allowed."
** The Grand Inquisitor opposes: spiritual values Vs the primitive power of instincts, the ideal of a heroic personality Vs the harsh element of the human masses, the inner freedom Vs the need to get their daily bread, the ideal of beauty Vs the bloody horror of historical reality. The image of the Inquisitor helps Dostoevsky to debunk the two most important theses of the supporters of the predominance of the material over the spiritual. The first is that people are slaves, "although they were created by rebels," that they are weaker and lower than Divine Providence, that freedom is not needed and even harmful to them. The second is that the overwhelming majority of people are weak and cannot endure suffering in the name of God for the sake of atonement for sins, and, therefore, Christ for the first time did not come into the world for everyone, but “only to the elect and for the elect”. The writer refutes these seemingly very folding reasoning of the Inquisitor. And in the Legend, the finale, against the will of the author of the poem, Ivan Karamazov, testifies to the triumph of the ideas of Christ, and not the Grand Inquisitor. Finale: The Inquisitor was silent, he wanted Pts to answer him something, but he only kissed him on the lips. The kiss turns out to be the strongest objection to all the cunning and seemingly logical theories of the builders of the kingdom of God on earth. Pure love for humanity begins only when one loves not bodily, external beauty, but the soul. The Grand Inquisitor ultimately remains indifferent to the soul.
Dostoevsky paints for us a picture of the struggle between good and evil in the human soul. At the same time, the bearer of the evil principle is endowed with many attractive features in common with Christ himself: love for people, striving for universal rather than personal happiness. However, all good intentions immediately collapse as soon as it turns out that the Grand Inquisitor is forced to resort to deception. The writer was convinced that lies and deception are unacceptable on the path to happiness. The pride of the Grand Inquisitor, dreaming of replacing God with himself, leads his soul straight to hell. Christ, who, as the writer shows, at the second coming would have been prepared for the torture chamber of the Inquisition and the fire, remains the winner in the dispute. The executioner-inquisitor has nothing to oppose his silence and the last all-forgiving kiss.
With his nihilistic philosophy, ideas of "permissiveness" Ivan pushes the lackey Smerdyakov to the crime - the murder of Fyodor Karamazov.
Trilogy L.N. Tolstoy's "Childhood", "Adolescence", "Youth". The idea. The image of the protagonist and his evolution. Features of psychologism.
Living in the Caucasus, L.H. Tolstoy conceived great work- a novel consisting of four stories, entitled "Four epochs of development." The content of the planned novel was supposed to be a description of the gradual formation of personality young man in childhood, adolescence, adolescence and youth. Tolstoy several times corrected the plan of his work, in one of the variants of the plan he defined his main task as follows: “To sharply outline the characteristic features of each epoch of life: in childhood, warmth and fidelity of feeling; in adolescence skepticism, voluptuousness, self-confidence, inexperience and (the beginning of vanity) pride; in youth, the beauty of feelings, the development of vanity and self-doubt; in his youth - eclecticism in feelings, the place of pride and vanity is taken by pride, knowledge of its value and purpose, versatility, frankness. " This plan reveals that the main attention of the young writer is drawn to the inner life of his hero, to the age characteristics of the psychological state of the young man. Of the planned tetralogy, Tolstoy carried out only the trilogy "Childhood", "Boyhood" (1854), "Youth" (1856) with the unfinished last story.
All three stories have undergone more than one revision before the author achieved the desired result - the narration is not so much about the events of his hero's life, but about the wealth and complexity of changes that are outwardly imperceptible in the inner world of a person. Such a task could only be solved by a writer who penetrates deeply into the inner world of his hero. The hero of Tolstoy's stories, Nikolenka Irteniev, is largely autobiographical, and his rich experience of introspection and introspection, supported by constant recourse to diary entries, helped the young writer to understand him. Based on his own experience, knowledge of the secrets of the human soul allowed the writer to endow his heroes with autobiographical features, which was manifested not so much in the similarity of events and actions, but in the similarity of the state of the inner world of the author and his heroes. That is why, with the maturity and maturity of Tolstoy himself, his characters, their thoughts and aspirations changed.
Nikolenka Irteniev occupies a special place among the main characters of Tolstoy's works: he opens this gallery, without him it is impossible to correctly understand neither the characters of the subsequent characters, nor the author himself. The origin of the story was also the whole way of the noble estate life of the era of Tolstoy's childhood, the writer's family environment and literary and everyday traditions preserved by the noble intelligentsia of the first half of the 19th century. Of these greatest value for Tolstoy, the epistolary culture of his circle and the widespread custom of keeping diaries, notes, which are literary forms, in one way or another connected with memoiristics, had an epistolary culture. It was in the circle of these literary and everyday forms that the writer felt most familiar and confident, which psychologically could support him at the beginning of his creative career.
The first edition of Childhood was written in the traditional memoir form, moving away from which, Tolstoy, as it were, combined in his story two views of the past: the sensitive sensitivity and observation of little Nikolenka and intellect, a tendency to analyze, the thought and feeling of an adult “author”. There is barely enough time and events described in the first story for a story with a vigorously developing plot, but the readers get the impression that they have witnessed several years of the hero's life. The mystery of such a perception of artistic time “is rooted in the fact that Tolstoy correctly describes the peculiarities of children's perception, when all impressions are vivid and voluminous, and most of the described actions of the hero belong to the number of daily repetitions: waking up, morning tea, classes. In "Childhood" we are presented with vivid pictures of the life of the noble family of the Pushkin era. The hero is surrounded by people who love him and beloved by him, including his parents, brother, sister, teacher Karl Ivanovich, housekeeper Natalya Savishna and others. This environment, the sequence of classes with rare memorable events of the hunt or the arrival of the holy fool Grisha make up the stream of life that engulfs Nikolenka and allows him to exclaim long afterwards: “Happy, happy, irreversible time of childhood! How not to love, not cherish the memories of her? " The happiness of childhood gives way to the "barren desert" of adolescence, which pushed the boundaries of the world for the hero and raised intractable questions before him, caused painful discord with others and disharmony of the inner world. “Thousands of new, vague thoughts” led to a revolution in the consciousness of Nikolenka, who felt the complexity of the surrounding life and his loneliness in it. In adolescence, under the influence of his friend Dmitry Nekhlyudov, the hero also learns "his direction" - "an enthusiastic adoration of the ideal of virtue and the conviction of a person's appointment to constantly improve." At this time "it seemed very easy and simple to correct oneself, to assimilate all the virtues and to be happy ...". This is how Tolstoy ends the second story of the trilogy. In his youth, Irteniev tries to find his own path, to find the truth. So in the work of Tolstoy, for the first time, the type of a seeking hero striving for self-improvement is determined. In his youth, for Irteniev, friendship, communication with people of a different social circle means a lot. Many of his aristocratic prejudices do not stand the test of life. It is not for nothing that the story ends with a chapter with the significant title "I Fail." Everything experienced in his youth is perceived by the hero as the most important moral lesson for him.
"Observation and subtlety of psychological analysis", poetry, clarity and grace of the narrative. N.G. Chernyshevsky, who noted that of the "various directions" of psychological analysis, Tolstoy is more attracted by "the mental process itself, its forms, its laws, the dialectic of the soul." The last words have become a classic definition of the characteristics of Tolstoy's psychology.
Ticket.
Ticket.
The epic novel by L.N. Tolstoy's "War and Peace". Genre specificity. Leading Topics. System of images.
"War and Peace" is an epic novel: it is not the story of one particular person or family, it is the story of a whole in an important era for history - the era of the Napoleonic Wars. The action of the novel begins in 1805 and ends in 1825. In the center of the novel is a chronicle of the life of several families: the Bolkonsky, Rostov, Kuragin + Pierre Bezukhov. The main character is not one, there are several of them - Natasha Rostova, Andrei Bolkonsky, Pierre Bezukhov, Marya Bolkonskaya - these heroes embody the best character traits for Tolstoy.
Tolstoy studies the history of the country through the prism of ordinary destinies of the country's citizens who have shared a common destiny with their people. + there are many real historical figures among the characters of the novel (the emperor, Kutuzov, Napoleon)
Kutuzov and Napoleon - 2 types of war: 1) Napoleon - aggressive, aggressive; 2) Kutuzov - "the question of the life and death of the fatherland was being decided."
Spiritual fusion with the Russian people is concentrated in the image of Kutuzov. Tolstoy believed that the true greatness of Kutuzov as a commander and a man lay in the fact that his personal interest in liberating his homeland from the enemy completely coincided with the interest of the people. Tolstoy considered the spirit of the army and its willpower to be the force that determines the success of any battle.
Tolstoy does not accept the image of Napoleon with his desire for power over the world, selfishness, cruelty, he notes the futility of his selfish aspirations. Cold selfishness, lies, narcissism, willingness to sacrifice other people's lives for the sake of achieving his low goals, even without counting them - these are the features of this hero ... He is also deprived of a path, for his image is the limit of spiritual degradation.
Tolstoy leaves the leading role in history for the people, considering them the main driving force of all events. + Tolstoy shows representatives of all classes of that time, examining the character of the Russian people at a turning point in history.
From the point of view of the system of images, the heroes of the novel can be conditionally divided into “living” and “dead”, that is, developing, changing over time, deeply feeling and experiencing, and, in contrast to them, frozen, not evolving, but static ..
In the center of the novel are three families: the Bolkonskys, Rostovs, Kuraginas. The Rostov family is described with great author's sympathy. The atmosphere of kindness, benevolence, spiritual generosity, love, caring for each other was created in the Rostovs' house by mutual efforts of the old Count Ilya Andreevich, the Countess and their children. The soul of this family is undoubtedly Natasha.
The Bolkonsky family is based on traditions, order, logic. The strik Bolkonsky taught his children to do this. He shows cruelty towards his children, believing that it will benefit them. Former Catherine's grandee keeps his children and everyone around him in fear.
Kuragins are a type of family where meanness, lies and hypocrisy manifest themselves to the greatest extent. Having inherited these qualities from their father, Anatole and Helen are ready to do anything just to achieve their goal, regardless of the feelings and opinions of other people.
In Tolstoy's novel there are favorite characters and unloved ones. Favorite heroes of Tolstoy, unlike unloved ones, are usually ugly outwardly, but endowed with inner beauty. They are capable of self-improvement, moral and spiritual pursuits. They are introspective. Real heroes for Tolstoy are those in whose appearance everything non-heroic is emphasized, who blame themselves for mistakes, and not others, who are modest and honest.
Beauty Theme and Family Theme: Natasha, Marya, Helen. Natasha and Marya are ugly in appearance, but they have mental beauty. They evolve, they are morally elevated. In the epilogue, Natasha is presented as a loving mother and wife, who does not think about her appearance at all. She, like Princess Marya, devoted herself to her husband and children. Conclusion: a woman in this world to give birth to children (Tolstoy's position). The antipode of Natasha and Marya is the beautiful Helen. The novel constantly emphasizes the attractive appearance of the heroine. However, Helen was unable to start a family, she has no children. With her character, she could hardly become a support for children and her husband.
Philosophical research topic: Pierre, Andrey. Andrei Bolkonsky at the beginning of the novel only dreams of fame, his pregnant wife oppresses him. His hero is Napoleon, but being wounded in the battle of Austerlitz, he becomes disillusioned with his idol, he sees only the sky above his head - at this moment the hero's soul is reborn. He understands what is really important - family happiness, regrets his previous mistakes in relation to his wife. However, he fails to find that family happiness that he dreamed of. Lisa's wife died in childbirth. This period becomes the period of the hero's spiritual growth. He begins to live not for himself, but for others. Impressed by the meeting with Natasha Rostova and the feelings that arose for her, the prince returned to an active life, but Natasha's betrayal again made him cold. By participating in the Patriotic War, Bolkonsky acquired a common goal with the people. Having been seriously wounded in the Battle of Borodino, the prince begins to understand people, forgive their weaknesses, discovers that true ties between people are built on love for their neighbors (he forgives his enemy - Anatol Kuragin). Reconciled with Natasha, he finds peace of mind.
Pierre Bezukhov, after the death of his father, inherits his fortune and title, and this turns into the first serious test of the hero. An unhappy marriage and a tendency to philosophize lead him to the ranks of the Freemasons, but in this, Pierre is disappointed. Even an attempt to improve the lives of the peasants brought him only failure. 1812 - there is a reassessment of his idol - Napoleon - he sees in him a usurper and a murderer. The key moment in his life is the meeting with Platon Karataev (for Tolstoy this is the ideal of the Russian person). Pierre is imbued with the idea of self-sacrifice and changes internally. Then: Natasha, wedding, children ... ..decembrist ideas.
SPEECH at the MEETING
with CREATIVE INTELLIGENCE
(1946)
Stalin. What do you want to tell me, comrade Fadeev?
Fadeev (A.A. - in 1946-1954, General Secretary of the Union of Writers of the USSR. - Ed.). Comrade Stalin, we have come to you for advice. Many believe that our literature and art are at a dead end. We do not know which way to develop them further. Today you come to one cinema - they shoot, you come to another - they shoot: movies are going everywhere, in which heroes endlessly fight enemies, where human blood flows like a river. Everywhere they show some shortcomings and difficulties. The people are tired of fighting and blood.
We want to ask your advice on how to show a different life in our works: the life of the future, in which there will be no blood and violence, where there will be no those incredible difficulties that our country is experiencing today. In short, there is a need to talk about our happy and cloudless future life.
Stalin. In your reasoning, Comrade Fadeev, there is no main thing, there is no Marxist-Leninist analysis of the tasks that life now puts forward for literary workers, for workers of art.
Once Peter 1 opened a window to Europe. But after 1917, the imperialists thoroughly beat him up and for a long time, fearing the spread of socialism to their countries, before the Great Patriotic War, they presented us to the world through their radio, cinema, newspapers and magazines as some kind of northern barbarians - murderers with a bloody knife in their teeth. This is how they portrayed the dictatorship of the proletariat. Our people were portrayed as dressed in bast shoes, in shirts, belted with a rope and drinking vodka from a samovar. And suddenly backward "bastard" Russia, these cavemen - subhuman, as the world bourgeoisie portrayed us, utterly defeated two powerful forces in the world - fascist Germany and imperialist Japan, before which the whole world trembled in fear.
Today the world wants to know what kind of people they are who have performed such a great feat that saved humanity.
And humanity was saved by ordinary Soviet people, who, without noise and noise, in the most difficult conditions, carried out industrialization, carried out collectivization, radically strengthened the country's defense and, at the cost of their lives, led by the communists, defeated the enemy. Indeed, in the first six months of the war alone, more than 500 thousand communists died in battles on the fronts, and in total during the war - more than three million. These were the best of us, noble and crystal clear, selfless and selfless fighters for socialism, for the happiness of the people. We do not have enough of them now ... If they were alive, many of our current difficulties would already be behind us. This is the current task of our creative Soviet intelligentsia and consists in comprehensively showing this simple, wonderful Soviet man in their works, revealing and showing the best features of his character. This is the general line in the development of literature and art today.
Why is the literary hero created by Nikolai Ostrovsky in his book How the Steel Was Tempered, Pavel Korchagin, dear to us?
He is dear to us above all for his boundless devotion to the revolution, the people, the cause of socialism, and his disinterestedness.
The artistic image in the cinema of the great pilot of our time Valery Chkalov contributed to the upbringing of tens of thousands of fearless Soviet falcons - pilots who covered themselves with unfading glory during the Great Patriotic War, and the glorious hero of the film "Boy from Our City" Colonel-tanker Sergei Lukonin - hundreds of thousands of heroes. tankers.
It is necessary to continue this established tradition - to create such literary heroes - fighters for communism, whom the Soviet people would like to be equal to, whom they would like to imitate.
I have a list of questions that, as I was told, are of interest to the Soviet creative intelligentsia today. If there are no objections, I will answer them.
Shouts from the audience. We ask you very much, Comrade Stalin! Answer please!
Question. What are the main shortcomings, in your opinion, in the work of contemporary Soviet writers, playwrights and film directors?
Stalin. Unfortunately, they are quite significant. In recent years, dangerous tendencies have been clearly visible in many literary works, inspired by the pernicious influence of the decaying West, as well as brought about by the subversive activities of foreign intelligence services. More and more often, works appear on the pages of Soviet literary magazines in which Soviet people, the builders of communism, are portrayed in a pitiful caricature. The positive hero is ridiculed, admiration for foreignism is promoted, and the cosmopolitanism inherent in the political scum of society is praised.
In the repertoires of theaters, Soviet plays are supplanted by vicious plays by foreign bourgeois authors.
Small themes appeared in the films, a distortion of the heroic history of the Russian people.
Question. How dangerous ideologically are the avant-garde direction in music and abstractionism in the works of artists and sculptors?
Stalin. Today, under the guise of innovation in musical art, a formalistic direction is trying to break through in Soviet music, and abstract painting in artistic creation. Sometimes you can hear the question: "Do such great people as the Bolshevik-Leninists need to do little things - spend time criticizing abstract painting and formalistic music. Let psychiatrists do this."
In such questions, there is a lack of understanding of the role in ideological sabotage against our country and especially the youth played by these phenomena. After all, with their help they are trying to oppose the principles of socialist realism in literature and art. It is impossible to do this openly, so they act undercover. In the so-called abstract paintings there are no real images of people whom I would like to imitate in the struggle for the happiness of the people, in the struggle for communism, along the path of which I would like to follow. This image is replaced by an abstract mysticism that obscures the class struggle of socialism against capitalism. How many people came during the war to be inspired for heroic deeds at the monument to Minin and Pozharsky on Red Square! And what can be inspired by a pile of rusty iron, presented by "innovators" from sculpture as a work of art? What can abstract paintings by artists inspire?
This is the reason why modern American financial magnates, promoting modernism, pay fabulous fees for such "works" that the great masters of realistic art never dreamed of.
There is also a class background to the so-called Western popular music, the so-called formalistic direction. This kind of music, if I may say so, is created on the rhythms borrowed from the sects of the "shakers", whose "dances", bringing people to ecstasy, turn them into uncontrollable animals capable of the most wild deeds. This kind of rhythms are created with the participation of psychiatrists, are built in such a way as to affect the subcortex of the brain, on the human psyche. This is a kind of musical addiction, falling under the influence of which a person can no longer think about any bright ideals, turns into cattle, it is useless to call him for a revolution, for building communism. As you can see, music is also at war.
Question. What exactly is the subversive activities of foreign intelligence agents in the field of literature and art?
Stalin. Speaking about the further development of Soviet literature and art, one cannot but take into account that they are developing under conditions of a secret war unprecedented in history, which today the world imperialist circles have unleashed against our country, including in the field of literature and art. Foreign agents in our country have been tasked with infiltrating the Soviet cultural authorities, seizing the editorial offices of newspapers and magazines, exerting a decisive influence on the repertoire policy of theater and cinema, and on the publication of fiction. In every possible way to prevent the publication of revolutionary works that foster patriotism and raise the Soviet people to communist construction, to support and promote works that preach disbelief in the victory of communist construction, propagandize and praise the capitalist mode of production and the bourgeois way of life.
At the same time, foreign agents have been tasked with promoting pessimism, all kinds of decadence and moral decay in works of literature and art.
One zealous American senator said: "If we could show our horror films in Bolshevik Russia, we would surely disrupt communist construction for them." No wonder Leo Tolstoy said that literature and art are the most powerful forms of suggestion.
We need to seriously think about who and what inspires us today with the help of literature and art, put an end to ideological sabotage in this area, until the end, it’s time, in my opinion, to understand and assimilate that culture, being an important component of the dominant ideology in society, always class and is used to protect the interests of the ruling class, in our country to protect the interests of the working people - the state of the dictatorship of the proletariat.
There is no art for art's sake, and there cannot be any "free" artists, writers, poets, playwrights, directors, and journalists who stand above this society, as it were. They just don't need anyone. Yes, such people do not exist, cannot exist.
Those who are unable or unwilling to serve the Soviet people faithfully due to the vestiges and traditions of the old counter-revolutionary bourgeois intelligentsia, due to rejection and even hostility towards the power of the working class, will receive permission to leave for permanent residence abroad. Let them see with their own eyes what the assertions about the notorious bourgeois "freedom of creativity" in a society where everything is bought and sold, and representatives of the creative intelligentsia completely depend on the money bag of financial tycoons for their work.
Unfortunately, comrades, due to the acute shortage of time, I have to end our conversation.
I hope that to some extent I have answered your questions. I think that the position of the Central Committee of the CPSU (b) and the Soviet government on the further development of Soviet literature and art is clear to you.
(According to the book: Zhukhrai V. Stalin: truth and lie. M., 1996... WITH. 245-251)
