Patriotic War in literature. Literature during the Great Patriotic War. “And the dawns here are quiet...” Boris Vasiliev

Goal: Analyze the stages
moral degradation
hero.
(Watch how it changes
hero and under the influence of what
it happens.)

Lesson topic

"Human degradation
in the story
A. P. Chekhova
"Ionych"
"Degradation". [fr. degeneration] –
gradual deterioration, decline.

The story "Ionych"

"Do not succumb to the destructive influence
environment, develop strength in yourself
resistance to circumstances, not
betray the bright ideals of youth,
do not betray love, take care of yourself
person"
A.P. Chekhov.
...to what insignificance,
pettiness, nastiness could descend
Human! could have changed so much!
N.V. Gogol

Continue the phrase (word, phrase)

"In life
differently
Can
live:….."

2 options for lesson-reflections:

Evolution
Degradation

Working with a dictionary

Degradation
The word degradation -
(degradacja - from Latin
degradatio gradual
reduction") - derived from
degradare "to go down"
educated with the help
prefix de "down" from gradior
"step"
Evolution
The process of gradual
continuous development,
changes

Find matches

Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V

Test yourself!

Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
“When I had not yet drunk tears from
cups of existence..."
...he wanted to scream that
he wants that he is waiting for love in
come what may."
“And I was sorry for my feelings,
this love of yours..."
“And the light in my soul went out”
“Where is Ionych going?”

Chapter 1

nice, convenient, not
feels tired
laughs
hums, “good ones,
peaceful thoughts"
“not bad”

Chapter 2

worries, suffers,
suffers, “hope intoxicates”,
admires, waits for love,
is horrified, “oh, there’s no need
gain weight"

Chapter 3

stunned, experiencing
joyful, painful
the feeling “has stopped
heart beats restlessly”,
sorry love, shame,
calmed down

Chapter 4

hurriedly receives patients, nor
with whom he doesn’t get along, he wants
talk, complain, “light”
extinguished in my soul,” gets irritated,
“we are getting old, getting fatter,
we’re going down”, “it’s good that I
I didn’t get married then”

Chapter 5

“put on weight, grown fat”, “living
he’s bored”, “nothing bothers him”
interested", "greed
overcame"

Conclusion

Development of the doctor's image
Startseva is going downhill.
The hero gradually degrades.

How does the hero appear?

Spring
life
Nice,
convenient, not
feels
fatigue
laughs
hums
"good ones,
deceased
thoughts",
"not bad."
Love
Worried
suffers
suffers
"intoxicating
hope",
admires
I'm waiting
love,
horrified
"oh, don't
I wish I could gain weight"
Collapse
Stunned and
tortures
joyful,
painful
feeling,
"stopped
restless
fight
heart", sorry
love,
ashamed,
calmed down.
Last
flash
Hastily
accepts
sick, with no one
doesn’t add up, wants to “put on weight,
say, I’m stingingly fat,”
to be, "the light in" lives for him
my soul has gone out,”
boring",
gets irritated
"nothing is his
"We're getting old,
interested",
getting fatter,
let's go down, "ah
"greed
good thing I
overcame"
I didn’t get married then"
The final
The development of the image of Doctor Startsev is descending.

Spring
life
Ladder of life
Dmitry Ionych Startsev

Zemsky –
precinct form
medical
public services
in pre-revolutionary
Russia

The ladder of life of Dmitry Ionych Startsev

Spring
life
The goal is to help
to the sufferers,
serve
to the people
work;
treated
for free,
was kind
to the sick,
attentive
doctor
Dmitriy
Ionych
Startsev
Ladder of life
Dmitry Ionych Startsev
Wednesday
a habitat

Habitat

Turkin family

Conclusion

This dead environment
captured him, deceived him
and disfigured.

attitude towards reading Vera Iosifovna’s novel

“Vera Iosifovna read about what
never happens in life, and yet it was nice to listen,
convenient, and all these things came to mind
good, calm thoughts - not
I wanted to get up."

attitude towards the game Cat

Startsev, listening, pictured to himself how
high mountain, stones are falling, falling and
everyone was pouring in, and he wanted them to
They quickly stopped falling...
and listen to these noisy, annoying, but
still cultural sounds - it was so
nice, so new... Wonderful! - said
and Startsev, succumbing to the general
passion.

attitude towards Ivan Petrovich’s jokes

Die, unfortunate one!
And everyone started laughing.
“Interesting,” thought Startsev,
going outside.
“Not bad...” - he remembered,
falling asleep and laughing.

Conclusion

internal conflict
initially present.
Startsev is incapable
resist the environment.

The ladder of life of Dmitry Ionych Startsev

Spring
life
The goal is to help
to the sufferers,
serve
to the people
work;
treated
for free,
was kind
to the sick,
attentive
doctor
Dmitriy
Ionych
Startsev
Ladder of life
Dmitry Ionych Startsev
Wednesday
a habitat
This
dead
Wednesday
captured
him, deception
la and isuro
dovala.
Not able to
she's against it
there is
Trial
love

"Oh, this love..."

The ladder of life of Dmitry Ionych Startsev

Spring
life
Ladder of life
Dmitry Ionych Startsev
Wednesday
Purpose of Habitat Test
to help
love
to the sufferers, this
dead
From D.I. Startsev
serve
Love
Wednesday
to the people
scares him, to Ionych
work;
treated
for free,
was kind
to the sick,
attentive
doctor
Dmitriy
Ionych
Startsev
captured
him, deception
la and isuro
dovala.
she doesn't
capable
distract him
from practice
cheskoe
sides
Unable to do business.
she's against it
Was there
there is
Love?

From Dmitry Ionych Startsev to Ionych

The ladder of life of Dmitry Ionych Startsev

Spring
life
Ladder of life
Dmitry Ionych Startsev
Wednesday
Purpose of Habitat Test
to help
love
to the sufferers, this
dead
From D.I. Startsev
serve
Love
Wednesday
to the people
to Ionych
scary
his,
captured
work;
Sunset
she
Not
him, deception
treated
Dying
souls
capable
la and isuro
for free,
was kind
to the sick,
attentive
doctor
Dmitriy
Ionych
Startsev
distract him
from practice
cheskoe
sides
Unable to do business.
she's against it
Was there
there is
Love?
dovala.
person
in life,
spiritually and
morally
devastated
Degradation

Degradation –
gradual deterioration
loss of valuable properties and
qualities;
decline

Reasons for degradation:

The environment he finds himself in is
forces him to live according to the laws
society of the county town of S.
Startsev himself cannot and will not
wants to resist this.

The ladder of life of Dmitry Ionych Startsev

Spring
life
Ladder of life
Dmitry Ionych Startsev
Wednesday
Purpose of Habitat Test
to help
love
to the sufferers, this
dead
From D.I. Startsev
serve
Love
Wednesday
to the people
scares him, to Ionych
Sunset
work;
treated
for free,
was kind
to the sick,
attentive
doctor
Dmitriy
Ionych
Startsev
captured
him, deception
la and isuro
dovala.
she doesn't
capable
distract him
from practice
cheskoe
sides
Unable to do business.
she's against it
Was there
there is
Love?
Dying
person
in life,
spiritually and
morally
devastated
Degradation
souls
Spiritually
weak
I couldn't
save in
to myself
person.
Ionych

The ladder of life of Dmitry Ionych Startsev

Spring
life
Doesn't have
his
opinions,
easily
amenable
I'm a stranger
influence
Ladder of life
Dmitry Ionych Startsev
Wednesday
Habitat Test
love
Passed
If
4 years
the most
talented
your family
in the city
such is
then what
same
rest
Feeling
love
Feelings
it turned out
flared up
Not
but power
hereby
money
It turned out
stronger and
the light went out
Passed
several
years
Lost
humanity
cues
quality,
Job
for the sake of
profit

The path from Startsev to Ionych

Love
Refusal
active
life
Interest in
people, to
life
Club,
cards,
money
Young Zemsky
doctor Dmitry
Startsev
After graduation
university =
25 years
Ionych
In a year
26 years
After 4 years
30 years
After few years
35 years

Let's conclude

Startsev is still young, everything could change for him in
life, but he didn't want it. As a person, Startsev is not
took place. He has degenerated spiritually. Such concepts
like philistinism, philistinism, vulgarity, should
would have already disappeared from our lives. But they exist, and
Unfortunately, we encounter them very
often. Of course, writers and poets could not get around
Let's take a closer look at ourselves, no
attention to these pressing topics. For example,
we'll discover
Mayakovsky’s poem “On Rubbish”,
created by vli and we have traces in our souls
twenties, very relevant today.
the presence of those vices that
turned a young, energetic doctor
Dmitry Startsev into a rich, greedy,
the heartless everyman Ionych.

Test of love

How relationships develop
Startseva and Kotik?

“Ekaterina Ivanovna….very
he liked it"
“I haven’t seen you for a whole week, what if
If only you knew what suffering this is!”
"She delighted him..."
My soul was joyful, warm, and at the same time
same time some cold piece
reasoned: “Stop until you
late!"

“My love is limitless. Ask,
I beg you, be my wife!”
“...stopped beating restlessly
heart. ...I felt sorry for my feelings
this love of yours"
“How much trouble, however!”
“Something prevented him from feeling like
before"
“He remembered his love... and he
it became awkward"

“It’s good that I’m not on it
got married"
“The flame kept growing in
soul..."
“He remembered about the papers,
which he does in the evenings
took it out of my pockets with this
with pleasure, and the fire in my soul seemed to be burning"
“I wanted to scream what he wanted,
that he is waiting for love"
“the moon left and suddenly everything went dark”
"- I'm tired…"

"I'm tired…"
live(?)

Conclusion

This is how the process ended
transformations of intelligent
a man into a money-grubber,
content with the dim
everyday life, or rather, not
life, but existence.

Creative work

"Why in the beginning -
Doctor Startsev,
and at the end - Ionych?

To help!

And he
"Patient" (Hebrew)
The surname Startsev has its origins
origin from the word "old age"
which formed the basis of the nickname
Elder - that’s what they called not only
an elderly person, but also
old-timer, old settler.

Who is guilty of turning Dmitry Ionych Startsev into Ionych?

Dmitry Ionych Startsev in
Ionycha?

“What a pleasure it is to respect a person!” wrote A.P. Chekhov.
So that pleasure does not
lose –
you need to take care of yourself
person!

Reflection
Ionych

Homework: (lesson intrigue!!!)

write a mini-essay
“In life you can do different things
live…"
(What does it teach us
A.P. Chekhov in his
stories?)
"Darling"
-"The man in
case"
- "Jumping"
- “Ionych”
- “The lady with
doggie"

Many years separate us from the Great Patriotic War (1941-1945). But time does not reduce interest in this topic, drawing the attention of today’s generation to the distant years at the front, to the origins of the feat and courage of the Soviet soldier - a hero, liberator, humanist. Yes, it is difficult to overestimate the writer’s word on war and about war; An apt, striking, uplifting word, poem, song, ditty, a bright heroic image of a fighter or commander - they inspired warriors to feats and led to victory. These words are still full of patriotic resonance today; they poeticize service to the Motherland and affirm the beauty and greatness of our moral values. That is why we return again and again to the works that made up the golden fund of literature about the Great Patriotic War.

Just as there was nothing equal to this war in the history of mankind, so in the history of world art there was not such a number of different kinds of works as about this tragic time. The theme of war was especially strong in Soviet literature. From the very first days of the grandiose battle, our writers stood in line with all the fighting people. More than a thousand writers took part in the fighting on the fronts of the Great Patriotic War, defending their native land “with pen and machine gun.” Of the more than 1,000 writers who went to the front, more than 400 did not return from the war, 21 became Heroes of the Soviet Union.

Famous masters of our literature (M. Sholokhov, L. Leonov, A. Tolstoy, A. Fadeev, Vs. Ivanov, I. Erenburg, B. Gorbatov, D. Bedny, V. Vishnevsky, V. Vasilevskaya, K. Simonov, A Surkov, B. Lavrenev, L. Sobolev and many others) became correspondents for front-line and central newspapers.

“There is no greater honor for a Soviet writer,” A. Fadeev wrote in those years, “and there is no higher task for Soviet art than the daily and tireless service of the weapon of artistic expression to his people in the terrible hours of battle.”

When the guns thundered, the muses were not silent. Throughout the war - both in the difficult times of failures and retreats, and in the days of victories - our literature sought to reveal as fully as possible the moral qualities of the Soviet person. While instilling love for the Motherland, Soviet literature also instilled hatred of the enemy. Love and hate, life and death - these contrasting concepts were inseparable at that time. And it was precisely this contrast, this contradiction that carried within itself the highest justice and the highest humanism. The strength of wartime literature, the secret of its remarkable creative successes, lies in its inextricable connection with the people heroically fighting the German invaders. Russian literature, which has long been famous for its closeness to the people, has perhaps never been so closely connected with life and has not been as purposeful as in 1941-1945. In essence, it became literature of one theme - the theme of war, the theme of the Motherland.

The writers breathed the same breath with the struggling people and felt like “trench poets,” and all literature as a whole, in the apt expression of A. Tvardovsky, was “the voice of the heroic soul of the people” (History of Russian Soviet Literature / Edited by P. Vykhodtsev.-M ., 1970.-P.390).

Soviet wartime literature was multi-issue and multi-genre. Poems, essays, journalistic articles, stories, plays, poems, and novels were created by writers during the war years. Moreover, if in 1941 small - “operative” genres predominated, then over time works of larger literary genres begin to play a significant role (Kuzmichev I. Genres of Russian literature of the war years - Gorky, 1962).

The role of prose works in the literature of the war years was significant. Relying on the heroic traditions of Russian and Soviet literature, the prose of the Great Patriotic War reached great creative heights. The golden fund of Soviet literature includes such works created during the war years as “Russian Character” by A. Tolstoy, “The Science of Hate” and “They Fought for the Motherland” by M. Sholokhov, “The Capture of Velikoshumsk” by L. Leonov, “The Young Guard” A. Fadeeva, “The Unconquered” by B. Gorbatov, “Rainbow” by V. Vasilevskaya and others, which became an example for writers of post-war generations.

The literary traditions of the Great Patriotic War are the foundation of the creative search for modern Soviet prose. Without these traditions, which have become classical, which are based on a clear understanding of the decisive role of the masses in the war, their heroism and selfless devotion to the Motherland, the remarkable successes achieved by Soviet “military” prose today would not have been possible.

Prose about the Great Patriotic War received its further development in the first post-war years. “The Bonfire” was written by K. Fedin. M. Sholokhov continued to work on the novel “They Fought for the Motherland.” In the first post-war decade, a number of works appeared that were considered to be called “panoramic” novels for their pronounced desire for a comprehensive depiction of the events of the war (the term itself appeared later, when the general typological features of these novels were defined). These are “White Birch” by M. Bubyonnov, “Flag Bearers” by O. Gonchar, “Battle of Berlin” by Vs. Ivanov, “Spring on the Oder” by E. Kazakevich, “Storm” by I. Ehrenburg, “Storm” by O. Latsis, “The Rubanyuk Family” by E. Popovkin, “Unforgettable Days” by Lynkov, “For the Power of the Soviets” by V. Kataev, etc.

Despite the fact that many of the “panoramic” novels were characterized by significant shortcomings, such as some “varnishing” of the events depicted, weak psychologism, illustrativeness, straightforward opposition of positive and negative heroes, a certain “romanticization” of the war, these works played their role in development of military prose.

A great contribution to the development of Soviet military prose was made by writers of the so-called “second wave,” front-line writers who entered the mainstream literature in the late 1950s and early 1960s. So, Yuri Bondarev burned Manstein’s tanks near Stalingrad. E. Nosov, G. Baklanov were also artillerymen; poet Alexander Yashin fought in the Marine Corps near Leningrad; poet Sergei Orlov and writer A. Ananyev - tank crews, burned in the tank. The writer Nikolai Gribachev was a platoon commander and then commander of a sapper battalion. Oles Gonchar fought in a mortar crew; the infantrymen were V. Bykov, I. Akulov, V. Kondratyev; mortarman - M. Alekseev; a cadet and then a partisan - K. Vorobyov; signalmen - V. Astafiev and Y. Goncharov; self-propelled gun - V. Kurochkin; paratrooper and scout - V. Bogomolov; partisans - D. Gusarov and A. Adamovich...

What is characteristic of the work of these artists, who came to literature in greatcoats smelling of gunpowder with sergeant's and lieutenant's shoulder straps? First of all, the continuation of the classical traditions of Russian Soviet literature. Traditions of M. Sholokhov, A. Tolstoy, A. Fadeev, L. Leonov. For it is impossible to create something new without relying on the best that was achieved by predecessors. Exploring the classical traditions of Soviet literature, front-line writers not only mechanically assimilated them, but also creatively developed them. And this is natural, because the basis of the literary process is always a complex mutual influence of tradition and innovation.

Front-line experience varies from writer to writer. The older generation of prose writers entered 1941, as a rule, already established artists of words and went to war to write about the war. Naturally, they could see the events of those years more broadly and comprehend them more deeply than the writers of the middle generation, who fought directly on the front line and hardly thought at that time that they would ever take up a pen. The circle of vision of the latter was quite narrow and was often limited to the boundaries of a platoon, company, or battalion. This “narrow strip through the entire war,” in the words of front-line writer A. Ananyev, also runs through many, especially early, works of prose writers of the middle generation, such as “Battalions Ask for Fire” (1957) and “The Last Salvos” ( 1959) by Y. Bondarev, “Crane Cry” (1960), “The Third Rocket” (1961) and all subsequent works by V. Bykov, “South of the Main Strike” (1957) and “An Inch of Earth” (1959), “The Dead Shame Not imut" (1961) by G. Baklanov, "Scream" (1961) and "Killed near Moscow" (1963) by K. Vorobyov, "Shepherd and Shepherdess" (1971) by V. Astafieva and others.

But, inferior to the writers of the older generation in literary experience and “broad” knowledge of the war, the writers of the middle generation had their clear advantage. They spent all four years of the war on the front line and were not just eyewitnesses of battles and battles, but also their direct participants, who personally experienced all the hardships of trench life. “These were people who bore all the hardships of the war on their shoulders - from its beginning to its end. These were men of the trenches, soldiers and officers; They themselves went on the attack, fired at tanks to the point of frantic and furious excitement, silently buried their friends, took high-rise buildings that seemed impregnable, felt with their own hands the metallic trembling of a red-hot machine gun, inhaled the garlicky smell of German felt and heard how sharply and splashingly the fragments pierced the parapet from exploding mines" (Yu. Bondarev. A look at the biography: Collected works. - M., 1970. - T. 3. - P. 389-390.). While inferior in literary experience, they had certain advantages, since they knew war from the trenches (Literature of the great feat. - M., 1975. - Issue 2. - P. 253-254).

This advantage - direct knowledge of the war, the front line, the trench, allowed writers of the middle generation to give an extremely vivid picture of the war, highlighting the smallest details of front-line life, accurately and powerfully showing the most intense minutes - minutes of battle - everything that they saw with their own eyes and that themselves experienced four years of war. “It is precisely deep personal upheavals that can explain the appearance of the naked truth of war in the first books of front-line writers. These books became a revelation such as our literature about war had never known before” (Leonov B. Epic of Heroism. - M., 1975. - P. 139.).

But it was not the battles themselves that interested these artists. And they wrote the war not for the sake of the war itself. A characteristic tendency of literary development of the 1950-60s, clearly manifested in their work, is to increase attention to the fate of man in its connection with history, to the inner world of the individual in its indissolubility with the people. To show a person, his inner, spiritual world, most fully revealed at the decisive moment - this is the main thing for which these prose writers took up their pen, who, despite the uniqueness of their individual style, have one common feature - sensitivity to the truth.

Another interesting distinctive feature is characteristic of the work of front-line writers. In their works of the 50s and 60s, compared to the books of the previous decade, the tragic emphasis in the depiction of war increased. These books “carried a charge of cruel drama; they could often be defined as “optimistic tragedies”; their main characters were soldiers and officers of one platoon, company, battalion, regiment, regardless of whether dissatisfied critics liked it or didn’t like it, demanding large-scale paintings, global sound. These books were far from any kind of calm illustration; they lacked even the slightest didacticism, tenderness, rational precision, or substitution of internal truth for external ones. They contained the harsh and heroic soldier’s truth (Yu. Bondarev. Trend in the development of the military-historical novel. - Collected works. - M., 1974. - T. 3. - P. 436.).

War, as depicted by front-line prose writers, is not only, and not even so much, spectacular heroic deeds, outstanding deeds, but tedious everyday work, hard, bloody work, but vitally necessary, and from this, how everyone will perform it in their place, victory ultimately depended. And it was in this everyday military work that the writers of the “second wave” saw the heroism of the Soviet man. The personal military experience of the writers of the “second wave” determined to a large extent both the very depiction of war in their first works (the locality of the events described, extremely compressed in space and time, a very small number of heroes, etc.), and the genre forms that were most appropriate the contents of these books. Small genres (story, story) allowed these writers to most powerfully and accurately convey everything that they personally saw and experienced, with which their feelings and memory were filled to the brim.

It was in the mid-50s - early 60s that short stories and novellas took a leading place in the literature about the Great Patriotic War, significantly displacing the novel, which occupied a dominant position in the first post-war decade. Such a tangible overwhelming quantitative superiority of works written in the form of small genres has led some critics to hastily assert that the novel can no longer regain its former leading position in literature, that it is a genre of the past and that today it does not correspond to the pace of the times, the rhythm of life, etc. .d.

But time and life themselves have shown the groundlessness and excessive categoricalness of such statements. If in the late 1950s - early 60s the quantitative superiority of the story over the novel was overwhelming, then since the mid-60s the novel has gradually regained its lost positions. Moreover, the novel undergoes certain changes. More than before, he relies on facts, on documents, on actual historical events, boldly introducing real people into the narrative, trying to paint a picture of the war, on the one hand, as broadly and completely as possible, and on the other, historically as accurately as possible. Documents and fiction go hand in hand here, being the two main components.

It was on the combination of document and fiction that such works, which became serious phenomena of our literature, as “The Living and the Dead” by K. Simonov, “Origins” by G. Konovalov, “Baptism” by I. Akulov, “Blockade”, “Victory” by A. .Chakovsky, “War” by I. Stadnyuk, “Just One Life” by S. Barzunov, “Sea Captain” by A. Kron, “Commander” by V. Karpov, “July 41” by G. Baklanov, “Requiem for the PQ-17 Caravan” "V. Pikul and others. Their appearance was caused by growing demands in public opinion to objectively, fully present the degree of preparedness of our country for war, the reasons and nature of the summer retreat to Moscow, the role of Stalin in leading the preparation and course of military operations of 1941-1945 and some other socio-historical “knots” that attracted keen interest starting from the mid-1960s and especially during the perestroika period.

The theme of the Great Patriotic War (1941-1945) became one of the main ones in Soviet literature. Many Soviet writers took direct part in hostilities on the front line, some served as a war correspondent, some fought in a partisan detachment... Such iconic authors of the 20th century as Sholokhov, Simonov, Grossman, Erenburg, Astafiev and many others left amazing evidence for us. Each of them had their own war and their own vision of what happened. Some wrote about pilots, some about partisans, some about child heroes, some about documentaries, and some about fiction. They left terrible memories of those fatal events for the country.

These testimonies are especially important for modern teenagers and children, who should definitely read these books. Memory cannot be bought; it can either not be lost, lost, or restored. And it’s better not to lose. Never! And don't forget about victory.

We decided to compile a list of the TOP 25 most remarkable novels and stories by Soviet writers.

• Ales Adamovich: “The Punishers”
• Victor Astafiev: “Cursed and killed”
• Boris Vasiliev: ""
• Boris Vasiliev: “I wasn’t on the lists”
• Vladimir Bogomolov: “The moment of truth (In August forty-four)”
• Yuri Bondarev: “Hot snow”
• Yuri Bondarev: “The battalions are asking for fire”
• Konstantin Vorobyov: “Killed near Moscow”
• Vasil Bykov: “Sotnikov”
• Vasil Bykov: “Survive until dawn”
• Oles Gonchar: “Flag Bearers”
• Daniil Granin: “My lieutenant”
• Vasily Grossman: “For a just cause”
• Vasily Grossman: “Life and Fate”
• Emmanuel Kazakevich: “Star”
• Emmanuel Kazakevich: “Spring on the Oder”
• Valentin Kataev: “Son of the regiment”
• Viktor Nekrasov: “In the trenches of Stalingrad”
• Vera Panova: “Satellites”
• Fyodor Panferov: “In the land of the vanquished”
• Valentin Pikul: “Requiem for the PQ-17 caravan”
• Anatoly Rybakov: “Children of Arbat”
• Konstantin Simonov: “The Living and the Dead”
• Mikhail Sholokhov: “They fought for their Motherland”
• Ilya Erenburg: "Storm"

More about the Great Patriotic War The Great Patriotic War was the bloodiest event in world history, which claimed the lives of millions of people. Almost every Russian family has veterans, front-line soldiers, blockade survivors, people who survived the occupation or evacuation to the rear; this leaves an indelible mark on the entire nation.

The Second World War was the final part of World War II, which rolled like a heavy roller throughout the European part of the Soviet Union. June 22, 1941 became its starting point - on this day, German and allied troops began bombing our territories, launching the implementation of the “Barbarossa Plan”. Until November 18, 1942, the entire Baltic region, Ukraine and Belarus were occupied, Leningrad was blocked for 872 days, and troops continued to rush deep into the country to capture its capital. Soviet commanders and military personnel were able to stop the offensive at the cost of heavy casualties both in the army and among the local population. From the occupied territories, the Germans drove the population into slavery en masse, distributed Jews into concentration camps, where, in addition to unbearable living and working conditions, they practiced various types of research on people, which resulted in many deaths.

In 1942-1943, Soviet factories evacuated deep to the rear were able to increase production, which allowed the army to launch a counteroffensive and push the front line to the western border of the country. The key event in this period is the Battle of Stalingrad, in which the victory of the Soviet Union became a turning point that changed the existing balance of military forces.

In 1943–1945, the Soviet army went on the offensive, recapturing the occupied territories of right-bank Ukraine, Belarus and the Baltic states. During the same period, a partisan movement flared up in the not yet liberated territories, in which many local residents, including women and children, took part. The final goal of the offensive was Berlin and the final defeat of the enemy armies; this happened late in the evening of May 8, 1945, when the act of surrender was signed.

Among the front-line soldiers and defenders of the Motherland were many key Soviet writers - Sholokhov, Grossman, Ehrenburg, Simonov and others. Later they would write books and novels, leaving their descendants with their vision of that war in the images of heroes - children and adults, soldiers and partisans. All this today allows our contemporaries to remember the terrible price of a peaceful sky above our heads, which was paid by our people.

I. Introduction

II. Literature during the Second World War

Sh. Art during the Second World War

3.1. Cinematography and theatrical art.

3.2. Propaganda poster as the main form of fine art during the Second World War.

I. Introduction

During the Great Patriotic War, the struggle for freedom and independence of the Motherland became the main content of the life of Soviet people. This struggle required them to exert extreme spiritual and physical strength. And it was precisely the mobilization of the spiritual forces of the Soviet people during the Great Patriotic War that was the main task of our literature and our art, which became a powerful means of patriotic agitation.

II. Literature during the Second World War

The Great Patriotic War was a difficult test that befell the Russian people. The literature of that time could not remain aloof from this event.

So on the first day of the war, at a rally of Soviet writers, the following words were spoken: “Every Soviet writer is ready to give everything, his strength, all his experience and talent, all his blood, if necessary, to the cause of the holy people’s war against the enemies of our Motherland.” These words were justified. From the very beginning of the war, writers felt “mobilized and called upon.” About two thousand writers went to the front, more than four hundred of them did not return. These are A. Gaidar, E. Petrov, Y. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.

Front-line writers fully shared with their people both the pain of retreat and the joy of victory. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: “We lived our good life as people, and for people.”

Writers lived the same life with the fighting people: they froze in the trenches, went on the attack, performed feats and... wrote.

Russian literature of the Second World War period became literature of one theme - the theme of war, the theme of the Motherland. The writers felt like “trench poets” (A. Surkov), and all literature as a whole, in the apt expression of A. Tolstov, was “the voice of the heroic soul of the people.” The slogan “All forces to defeat the enemy!” directly related to writers. Writers of the war years mastered all types of literary weapons: lyricism and satire, epic and drama. Nevertheless, the lyricists and publicists said the first word.

Poems were published by the central and front-line press, broadcast on the radio along with information about the most important military and political events, and sounded from numerous improvised stages at the front and in the rear. Many poems were copied into front-line notebooks and learned by heart. The poems “Wait for me” by Konstantin Simonov, “Dugout” by Alexander Surkov, “Ogonyok” by Isakovsky gave rise to numerous poetic responses. The poetic dialogue between writers and readers testified that during the war years a cordial contact unprecedented in the history of our poetry was established between poets and the people. Spiritual closeness with the people is the most remarkable and exceptional feature of the lyrics of 1941-1945.

Homeland, war, death and immortality, hatred of the enemy, military brotherhood and camaraderie, love and loyalty, the dream of victory, thinking about the fate of the people - these are the main motives of military poetry. In the poems of Tikhonov, Surkov, Isakovsky, Tvardovsky one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the awareness of the cruel necessity of war.

During the war, the feeling of homeland intensified. Torn away from their favorite activities and native places, millions of Soviet people seemed to take a new look at their familiar native lands, at the home where they were born, at themselves, at their people. This was reflected in poetry: heartfelt poems appeared about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, and about the Smolensk region by Isakovsky.

Love for the fatherland and hatred for the enemy is the inexhaustible and only source from which our lyrics drew their inspiration during the Second World War. The most famous poets of that time were: Nikolai Tikhonov, Alexander Tvardovsky, Alexey Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.

In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyrical-epic (ballads, poems).

During the Great Patriotic War, not only poetic genres, but also prose developed. It is represented by journalistic and essay genres, war stories and heroic stories. Journalistic genres are very diverse: articles, essays, feuilletons, appeals, letters, leaflets.

Articles written by: Leonov, Alexey Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov. With their articles they instilled high civic feelings, taught an uncompromising attitude towards fascism, and revealed the true face of the “organizers of the new order.” Soviet writers contrasted fascist false propaganda with great human truth. Hundreds of articles presented irrefutable facts about the atrocities of the invaders, quoted letters, diaries, testimonies of prisoners of war, named names, dates, numbers, and made references to secret documents, orders and instructions of the authorities. In their articles, they told the harsh truth about the war, supported the people's bright dream of victory, and called for perseverance, courage and perseverance. "Not a step further!" - this is how Alexei Tolstov’s article “Moscow is threatened by an enemy” begins.

Journalism had a huge influence on all genres of wartime literature, and above all on the essay. From the essays, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Liza Chaikina, Alexander Matrosov, and about the feat of the Young Guards who preceded the novel “The Young Guard.” Very common in 1943-1945 was an essay about the feat of a large group of people. Thus, essays appear about the U-2 night aviation (Simonov), about the heroic Komsomol (Vishnevsky), and many others. The essays on the heroic home front are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes, but to mass labor heroism. Most often, Marietta Shaginyan, Kononenko, Karavaeva, and Kolosov wrote about people on the home front.

The defense of Leningrad and the battle of Moscow were the reason for the creation of a number of event essays, which represent an artistic chronicle of military operations. This is evidenced by the essays: “Moscow. November 1941” by Lidin, “July - December” by Simonov.

During the Great Patriotic War, works were also created in which the main attention was paid to the fate of man in war. Human happiness and war - this is how one can formulate the basic principle of such works as “Simply Love” by V. Vasilevskaya, “It Was in Leningrad” by A. Chakovsky, “The Third Chamber” by Leonidov.

In 1942, V. Nekrasov’s war story “In the Trenches of Stalingrad” appeared. This was the first work of a then unknown front-line writer, who rose to the rank of captain, who fought at Stalingrad all the long days and nights, participated in its defense, in the terrible and back-breaking battles waged by our army

The war became a great misfortune and misfortune for everyone. But it is precisely at this time that people show their moral essence, “it (war) is like a litmus test, like some kind of special manifestation.” For example, Valega is an illiterate person, “...reads syllables, and ask him what his homeland is, he, by God, won’t really explain. But for this homeland... he will fight to the last bullet. And the cartridges will run out - with fists, teeth...” The battalion commander Shiryaev and Kerzhentsev are doing everything possible to save as many human lives as possible in order to fulfill their duty. They are contrasted in the novel with the image of Kaluzhsky, who thinks only about not getting to the front line; the author also condemns Abrosimov, who believes that if a task is set, then it must be completed, despite any losses, throwing people under the destructive fire of machine guns.

Reading the story, you feel the author’s faith in the Russian soldier, who, despite all the suffering, troubles, and failures, has no doubts about the justice of the liberation war. The heroes of the story by V. P. Nekrasov live in faith in a future victory and are ready to give their lives for it without hesitation.

Sh. Art during the Second World War

The Great Patriotic War revealed to the artist’s gaze a wealth of material that concealed enormous moral and aesthetic riches. The mass heroism of people has given so much to art as human studies that the gallery of folk characters that was started in those years is constantly replenished with new and new figures. The most acute collisions of life, during which the ideas of loyalty to the Fatherland, courage and duty, love and camaraderie were revealed with particular vividness, are capable of nourishing the plans of the masters of the present and future.

3.1. Cinematography and theatrical art.

A major role in the development of art, starting from the first war years, was played by the theatrical dramaturgy of A. Korneychuk, K. Simonov, L. Leonov and others. Based on their plays “Partisans in the steppes of Ukraine”, “Front”, “The Guy from Our City”, “Russian People”, “Invasion” and later films were made based on these plays.

Propaganda and journalism, a caricature and a poem, an entry from a front-line notebook and a play published in a newspaper, a novel and a radio speech, a poster figure of the enemy and an image of a mother elevated to pathos, personifying the Motherland - the multi-colored spectrum of art and literature of those years included cinema, where many types and genres of martial art were melted into visible, plastic images.

During the war years, the meaning of different types of cinema became different than in peacetime conditions.

In art, newsreels have come to the forefront as the most efficient form of cinema. A wide spread of documentary filming, prompt release of film magazines and thematic short and full-length films - film documents allowed the chronicle as a type of information and journalism to take a place next to our newspaper periodicals.