Master class on the use of "Reflection Sheets" at the lesson-workshop
on the topic "Analysis of the features of psychologism in the story of I. A. Bunin" Clean Monday»
teacher of Russian language and literature
highest qualification category
MBOU Sarsak-Omga Lyceum
Agryz municipal district of the Republic of Tatarstan
The purpose of the lesson: to promote the formation of spiritual and moral guidelines; to help students comprehend the complexity, depth, features of the psychologism of the story by I.A. Bunin; improve the ability to speak with reason; develop oral and written skills.
Equipment: slide presentation, "Sheets of Reflections", texts of I.A. Bunin's story "Clean Monday", musical accompaniment: Beethoven - Moonlight Sonata (Piano Sonata N14), Cancan (mp3ostrov.com), Russian-Orthodox-liturgy-Symbol -faith(muzofon.com).
I . Inductor (switching on feelings). The goal is to create emotional mood, connection of the subconscious, problem situation - the beginning, motivating creative activity everyone.
The story of I.A. Bunin “Clean Monday” is a story about the love of a young couple. But the main characters don't have names. The deliberate absence of names is indicated by the fact that there are a lot of names in the story. And these are the names of real people. These are either the authors of fashionable works (Hoffmansthal, Schnitzler, Tetmayer, Pshibyshevsky); or fashionable Russian writers of the beginning of the century (A. Bely, Leonid Andreev, Bryusov); or genuine figures of the Art Theater (Stanislavsky, Moskvin, Kachalov, Sulerzhitsky); or Russian writers of the last century (Griboyedov, Ertel, Chekhov, L. Tolstoy); or heroes of ancient Russian literature (Peresvet and Oslyabya, Yuri Dolgoruky, Svyatoslav Seversky, Pavel Muromsky); the characters of "War and Peace" are mentioned in the story - Platon Karataev and Pierre Bezukhov; once the name of Chaliapin is mentioned; the true name of the owner of the tavern in Okhotny Ryad Egorov was named. One fictitious name is mentioned - the name of the coachman Fedor.
II . Self-instruction (individual solution). Students' opinions are heard.
Information for the teacher. Behind the actions and appearance of the heroes of Clean Monday, we unmistakably feel the presence of something more significant, which is subtly, with amazing skill, but also with amazing perseverance, Bunin weaves into his usual love plot. This essential is the soul, inner world heroes of the story.
III . Socioconstruction. The most important element of the master class technology is group work. Building, creating a result by a group. Groups work on a specific topic. The work of the group is organized as communication by correspondence, during which both individual writing products and collective creative work.
Teacher: a system of means and techniques aimed at a complete, deep and detailed disclosure of the inner world of heroes is called psychologism in literary criticism.
There are two main forms of psychological depiction in the literature:
1. Psychologism is open, explicit, direct, demonstrative. The main technique is psychological introspection, which is complemented by a system of artistic techniques: internal monologue, dialogue, letters, diaries, confession, dreams and visions of heroes, first-person narration, improperly direct internal speech, "dialectics of the soul", "stream of consciousness" (an extreme form of internal monologue).
2. Hidden, indirect, "subtext" psychologism, aimed at analyzing the inner world of the hero "from the outside". The main technique is psychological analysis, which is used in combination with other techniques: portrait, landscape, interior, artistic detail, comment, default.
What forms and techniques of psychologism are used in the story by I.A. Bunin “Clean Monday? We will try to answer this question in the course of group work. Two groups will work: one on the topic “Open psychologism” in I.A. Bunin’s story “Clean Monday”, the other on the topic “Hidden psychologism in I.A. Bunin’s story “Clean Monday”. Everyone gets a "Thinking Sheet" with a question on it. Answer the question, pass the “Sheet” to a neighbor in your group. The "leaf" should return to the "master" with opinions on behind this issue all members of the group.
Sample questions for a group working on the topic "Hidden psychologism" in I.A. Bunin's story "Clean Monday" and information for the teacher.
(The teacher can choose some of the questions at his own discretion, he can create another one within the group, since there are many methods of “hidden psychologism” in the story)
1. How does the portrait reveal the heroine?
Information for the teacher. This is an oriental beauty in all the splendor of her non-Russian, non-Slavic beauty. And when she “in a black velvet dress” appeared at the skit of the Art Theater and “pale with hops,” Kachalov approached her with a glass of wine and, “looking at her with mock gloomy greed,” said to her: “The Tsar Maiden, the Queen of Shamakhan, your health!" - we understand that it was Bunin who put into his mouth his own concept of duality: the heroine, as it were, is both a “tsar-maiden” and a “shamakhani queen” at the same time. It is important for Bunin, it is extremely necessary to see and emphasize in it the duality of appearance, a combination of contradictory and mutually exclusive features.
2. How does the heroine reveal her origin?
Information for the teacher. Russian, Tver is hidden inside, dissolved in the mental organization, while the appearance is completely given over to the power of Eastern heredity.
3. The heroine visits both ancient temples, monasteries, and restaurants, skits. How does this characterize her?
Information for the teacher. Her whole being is a continuous throwing between flesh and spirit, momentary and eternal. Behind the visible secular gloss, it has primordially national, Russian principles. And they turn out to be stronger, as they manifest themselves in beliefs.
4. Why was the view from the window of the Kremlin and the Cathedral of Christ the Savior and a visit to the Novodevichy Convent and the Rogozhsky cemetery so important for the heroine?
Information for the teacher. In the story, the signs of the modern era are correlated with the inner world of the narrator, yet, as for antiquity, churches, cemeteries, it is the inner world of the heroine. And also mentions of holy places (Conception Monastery, Miracle Monastery, Archangel Cathedral, Marfo-Mariinsky Convent, Iberian Chapel, Cathedral of Christ the Savior) testify to Bunin's deep nostalgia.
5. How does the interior characterize the heroine?
Information for the teacher. In the heroine’s apartment there is a “wide Turkish sofa”, next to it is an “expensive piano”, and above the sofa, the writer emphasizes, “for some reason a portrait of barefoot Tolstoy hung”. A Turkish sofa and an expensive piano are East and West, barefoot Tolstoy is Russia. Bunin expresses the idea that his homeland, Russia, is a strange but obvious combination of two layers, two cultural patterns - "Western" and "Eastern", European and Asian. This idea runs like a red thread through all the pages of Bunin's story. In numerous allusions and half-hints that abound in the story, Bunin emphasizes the duality, the contradictory nature of the way of Russian life, the combination of the incongruous.
6. The poetry of the story is manifested in the sound and rhythmic organization of the text. Contrasts are also striking here: “the slow, somnambulistically beautiful beginning of the Moonlight Sonata is replaced by a can-can, and the sounds of the liturgy are replaced by a march from Aida. Throughout the story, the heroine plays Beethoven's Moonlight Sonata. How does this characterize the inner world of the heroine?
Information for the teacher. The alternation of the most important motifs - temporal and eternal, the life of the flesh and the life of the spirit - forms the rhythmic basis of the story. The heroine is attracted to the eternal.
7. The heroine of the story finally decided to go to the monastery on "Clean Monday". Why on this particular day and how does it characterize her?
Information for the teacher. Pure Monday is the first Monday after Shrovetide, therefore, the action takes place in early spring (end of February - March). The last day of Shrove Tuesday is “Forgiveness Sunday”, on which people “forgive” each other insults, injustices, etc. Then comes “Clean Monday” - the first day of fasting, when a person who has been cleansed of filth enters a period of strict observance of rituals when the Maslenitsa festivities end and the fun is replaced by the severity of the life routine and self-focus. On this day, the heroine of the story finally decided to go to the monastery, parting with her past forever. Pure Monday is both a transition and a beginning: from a secular, sinful life to an eternal, spiritual one.
8. How can one explain the chronological discrepancy between the facts mentioned in the story? (At the end of the story, Bunin even accurately indicates the year in which the action takes place. Bely, who lived in Germany, was no longer in Moscow. By that time, the Literary and Artistic Circle had almost ceased its actual existence).
Information for the teacher. Bunin calls the time of the action of his story the spring of the thirteenth year. 1913 is the last pre-war year in Russia. This year is chosen by Bunin as the time of the story, despite its obvious discrepancy with the details of the described Moscow life of the era that survived it, this year has generally grown into a historical milestone of great importance. Bunin combines facts separated in reality by several years in order to further strengthen the impression of the diversity of Russian life at that time, the diversity of faces and people who did not suspect what a great test history was preparing for them. Anxiety and restlessness emanates from its pages. The bearer of these properties - the properties of time - is to a large extent the heroine.
9. Does the landscape play a role in depicting the heroine’s inner world: “A Moscow gray winter day grew dark, gas in the lanterns was coldly lit, shop windows were warmly lit - and Moscow’s evening life liberated from daytime affairs flared up: cab sledges rushed thicker and more cheerfully, thundered harder crowded, diving trams…”?
Information for the teacher. The landscape seems to anticipate an acquaintance with the contradictory nature of the heroine. Antithesis technique is used in the landscape. A whole system of oppositions is built in the story: the hero and the heroine are different in character; elegant Savor heroines and her deep religiosity; love without external obstacles, and its tragic ending. The movement of the text seems to be controlled by two opposite motives - the vulgarity of the surrounding reality and the spirituality of eternal values.
10. Why does Bunin saturate the story with an abundance of names of writers?
Information for the teacher. To show the different inner worlds of the heroine and the hero, he uses literary names (tell me what you read and I will tell you who you are). The hero gives his beloved fashionable works of European decadence, a novel by V. Bryusov, which are not interesting to her. In her hotel room, “for some reason, a portrait of barefoot Tolstoy hangs,” but somehow, for no apparent reason, she recalls Platon Karataev ... In an aristocratically refined and mysterious, the features of Katyusha Maslova, sacrificial and pure, suddenly appear in her resurrecting soul from the last (most beloved by Bunin) novel by L.N. Tolstoy "Resurrection".
eleven . What is the meaning of the main episode - "skit" in the Art Theater?
Information for the teacher. The cycle of “fake, comic and buffoonish theatrical action” does not attract the heroine, but causes aching mental pain, which strengthens the heroine’s religiosity, her desire to go to the monastery.
12. In the story, impersonal verb constructions are often used (“... for some reason, I definitely wanted to go there ...”). What is the purpose of these constructs?
Information for the teacher. The movements of the soul of Bunin's heroes defy logical explanation, the heroes seem to have no power over themselves. This is the essential difference between Bunin's psychologism and L. Tolstoy's "dialectics of the soul" and I. Turgenev's "secret psychologism".
13. What role do the details play in creating the psychological portrait of the heroine?
Information for the teacher. In "Clean Monday" the motifs of the vain world and spiritual life echo with other works by Bunin. The substantive basis for the motif of the vain world is functionally loaded details: literary bohemianism is depicted as a meaningless "skit", where there are only "shouts", antics and posturing. The “spontaneous” details correspond to the motive of spiritual life: descriptions of nature and architectural monuments (“The evening was peaceful, sunny, with frost on the trees; on the bloody brick walls of the monastery, jackdaws resembling nuns chatted in silence, played on the bell tower). The feelings of the artist, who loves his native nature with all his heart, are conveyed through the color scheme and emotionally tinted epithets (“subtle and sad”, “light”, “wonderful”, “on the golden enamel of sunset”).
Sample questions for a group working on the topic “Open psychologism in I.A. Bunin’s story “Clean Monday”
1. How is the heroine characterized by her interest in the legend of the maiden Fevronia and her husband Peter?
Information for the teacher. These are signs of a dramatic internal struggle, the agony of choosing between the available attributes of happiness and the call of infinity, the last secrets of Russia. its religious depth. An extraordinary restrained force emanates from the words of the heroine, retelling a well-known story. Moreover, two pages earlier, it was about a completely similar temptation, in the face of which, as it turns out, the heroine herself is, also authoritatively taking him aside. “When I arrived at dusk,” says the hero, “I sometimes found her on the sofa in only one silk arkhaluk trimmed with sable ... I sat next to her in the semi-darkness, without lighting a fire, and kissed her hands, feet, amazing in its smoothness body. .. And she did not resist anything, but everything was silent. I constantly looked for her hot lips - she gave them, breathing already impetuously, but she was silent. When I felt that I was no longer able to control myself, she pushed me away ... ”The connection between these two moments is obvious - the Old Russian narrative and what happens in the story.
2. To the bewildered question of the hero, how does his beloved know about the details of the Old Believer funeral rite, the heroine meaningfully answers: “You don’t know me.” How is the inner world of the heroine revealed in this dialogue?
Information for the teacher. Her vague answer conceals, according to the writer, a hint of the tremendous importance of the work that is being done in her mind and which leads her in the end to the thought of a monastery. In the context of the whole story, this means - to the idea of the need to abandon the clearly expressed duality that constitutes the essence of its origin, its nature and its external appearance.
3. How is the heroine revealed in the dialogue about the future?
Information for the teacher. Insisting on his love and expressing readiness to wait for the consent of his beloved to become his wife, the hero of the story fervently asserts that only in love for her is happiness for him. And he hears a calm answer: “Our happiness, my friend, is like water in a delusion: you pull - it puffed up, but you pull it out - there’s nothing.” - “What is this?” - the hero asks warily and again receives in response: "This is how Platon Karataev spoke to Pierre." And then he waves his hand in despair: “Oh, God bless her, with this oriental wisdom!”. There was an opinion in Russian literature that the theory of non-resistance arose in the East. The heroine professes the "oriental wisdom" of non-resistance. However, it is not contemplation and social passivity that characterizes it in the first place, namely duality - nature, origin, spiritual makeup, passions IV. Socialization. Any activity in the group represents a comparison, reconciliation, evaluation, correction of the surrounding individual qualities, in other words, a social test, socialization.
V. Advertising - presentation of the results of the activities of the participants of the master class by groups.
VI. Gap (internal awareness by the participant of the master class of the incompleteness or inconsistency of the old knowledge with the new, internal emotional conflict).
Teacher: why is the heroine given so much attention in this story and why was this story so dear to I.A. Bunin? (Children's opinions are heard)
Information for the teacher. The saturation of the inner life of the heroine, the constant presence behind everything that she says and does, of the second, hidden plan and creates the impression of the significance of the image. Solving the problem of the future life for herself, the heroine of the story solves it against a very turbulent background of a well-defined historical period. In these searches there was a share of the mental participation of Bunin himself. He completely departed from the revealing tendencies of pre-revolutionary creativity, which caused the specific nature of the solution to the problem of fate he proposed in Clean Monday. Bunin's thought struggles in a certain way to resolve the "mystery" of Russia. He offers us one of the answers in his story.
VII. Reflection. How will I solve the problem of the future life?
Used literature and Internet resources:
I.A. Bunin. Arseniev's life. Dark alleys. Bustard. Moscow. 2004
T.Yu.Gerasimova. New knowledge through the pedagogical workshop "What is spirituality"
S.A. Zinin. Literature in school or school without literature? literature at school. 2009. No. 9
T.A. Kalganova. The problem of reading in modern society and ways to solve it. Literature in school. 2009. No. 12
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Karpekina Tatyana Valentinovna The development of ideas about psychologism in the study of Russian prose at the turn of the XIX-XX centuries in the 11th grade: dissertation ... Candidate of Pedagogical Sciences: 13.00.02 / Karpekina Tatiana Valentinovna; [Place of protection: Mosk. ped. state university]. - Moscow, 2008. - 195 p. : ill. RSL OD, 61:08-13/218
Introduction
CHAPTER I: Theoretical foundations for the formation and development of ideas about psychologism fiction in high school
1.1. Psychologism in a work of art 11
1.2. The concept of "psychologism" in school curricula and educational literature 37
1.3. Psychological and pedagogical foundations for the development of ideas about psychologism among high school students 63
Conclusions on Chapter 1 93
CHAPTER II: Methods of working with students of grade 11 on the development of ideas about psychologism in the study of Russian prose at the turn of the 19th - 20th centuries
2.1. Gradual development of ideas about psychologism in the study of Russian prose at the turn of the 19th - 20th centuries 98
2.2. The study of the psychology of A. I. Kuprin: traditions and innovation 105
2.3. Analysis of individual forms of psychologism by I. A. Bunina... 127
2.4. Consideration of the problem of independence in the early works of M. Gorky and L. Andreev 142
Conclusions on Chapter 2 173
Conclusion 176
Bibliography 1
The concept of "psychologism" in school curricula and educational literature
For the psychological style, according to Esin, the leading role of the direct form is characteristic, the rest are auxiliary. He emphasizes that in the psychological style, all means of subject representation in one way or another serve the purposes of psychological analysis, therefore, for example, in Gogol's satire there is no place for psychologism.
An interesting point of view on psychologism is offered by E. A. Mikheicheva. Assuming that this concept covers three aspects artwork: meaningful, formal and functional, she defines psychologism as " artistic expression author's consciousness through the psyche of the hero, taking into account the level of consciousness of the reader and with the aim of influencing him. Thus, psychologism, in the understanding of E. A. Mikheicheva, is a three-component entity, the content plan of which is the consciousness of the author, the plan of expression is the psyche of the characters, the functional plan is the consciousness of the reader. However, taking into account the complex nature of the relationship between content and form in a literary work, this definition seems to be beyond dispute. Literary Encyclopedia terms and concepts edited by A. N. Nikolyukin, summing up the opinions of A. P. Skaftymov, I. V. Strakhov, V. V. Kompaneets, A. B. Esin, L. Ya. Ginzburg, gives the following definition of this concept: “ Psychologism in literature (Greek psyche - soul; logos - concept) is a deep and detailed image of the inner world of heroes: their thoughts, desires, experiences, which is an essential feature of the aesthetic world of the work.
Psychologism as a style-forming principle was most vividly and fully embodied in the works of writers - psychologists of the 19th century.
As W. R. Focht emphasizes, “the psychologism of Pushkin, Gogol, Lermontov differs from the psychologism of the romantics in that it has become an object of study, and not a form of self-expression of writers.” It was in the work of these writers that the romantic personality acquired flesh and blood, became typical: “ extra person», « small man», « dead Souls". The task put forward in a number of works - "to look into the soul of a person" became fundamental for writers P-th half of XIX century.
Artistic psychologism in the literature of this period reached its peak in the works of L. N. Tolstoy, I. S. Turgenev, and F. M. Dostoevsky. But to depict the complexity of a person, due to their creative individuality, ideological differences, they approached from different angles. The main task of L. N. Tolstoy's psychological analysis was to reveal the moral dominant in the process of the constantly changing picture of the characters' spiritual life, the main style-forming principle of his psychological narration is the "dialectics of the soul", i.e. a constant image of the inner world of the characters in motion, in development. But the moral dominant of Tolstoy's heroes is such that it does not allow one to delve into the "nasty", "unnatural" things. The peculiarity of the psychologism of I. S. Turgenev lies in his unobtrusiveness, invisibility - what in literary criticism is usually called Turgenev's "secret psychologism". He set as his artistic task not so much to explain, to interpret the essence of psychological processes, but to recreate state of mind extremely clear, intelligible. Turgenev pays more attention to the emotional side of psychological life, because it is in what does not depend or does not completely depend on rational control that a person shows his deep, essential character traits. Compared to Tolstoy and Turgenev, Dostoevsky more purposefully sought the possibility of a breakthrough into the imagery of the unconscious. He created a whole theory of "fantastic realism", which with "striking fidelity" allows you to convey the "state of the human soul." Dostoevsky depicts not just the coexistence and struggle in the soul of the hero of opposing thoughts and desires, but also their strange, paradoxical transition into each other.
The literature of the 19th century showed the full depth and complexity of human nature and is rightfully considered "the era of the dominance of psychological analysis" (L. Ya. Ginzburg). The realistic concept of the world and man opened up unlimited possibilities for the artist of words to deepen into the inner world of a separate “I”. But a qualitative change in the image of the world and man became possible only in the subsequent literary era, the era of the late XIX - XX centuries. For this, it was necessary that the idea of the world and oneself, characteristic of the progressive personality of the "golden age", underwent serious changes. Among the important non-literary factors that influenced this process, it is necessary to name the achievements of physiology and psychology, physics and mathematics, scientific sociology, in connection with which the idea of the physical picture of the world becomes much more complicated. This turn was also stimulated by the instability of social relations of the transitional era, the catastrophic nature of their development during the period of the "three revolutions".
Psychological and pedagogical foundations for the development of ideas about psychologism among high school students
In the program edited by A. G. Kutuzov, increased attention is paid to the study of the work of I. A. Bunin and L. N. Andreev in conjunction with the literary 19th tradition century, namely: the influence of Tolstoy, the Ancient East - pantheistic philosophy on Bunin's worldview, Dostoevsky and Andreev - the problems of loneliness, alienation, depersonalization of a person, determination and freedom of the individual, the inclusion of expressive means of expression in the narrative, thickening of the emotional atmosphere. Often these and other features of L. Andreev's psychologism - in the works "Judas Iscariot", "The Life of Basil of Thebes", "The Abyss" and others - are associated with the authors of some programs (for example, V. G. Marantsman or G. S. Merkin, S. A. Zinin, V. A. Chalmaev) with his belonging to artistic direction"expressionism". It is worth paying attention to the fact that the work of this writer is not presented in all programs or is studied optionally, while L. Andreev's prose is sharply psychological and full of new means of psychological analysis.
The teacher turns to the work of early Gorky already in high school - from grades 5 to 9: "Childhood" (V. G. Marantsman, A. I. Knyazhitsky) "The Legend of Danko", "Old Year", "My Universities" ( T. F. Kurdyumova), “Song of the Falcon”, “Little!” (M. B. Ladygin, G. I. Belenky), "Chelkash", "Makar Chudra" (V. Ya. Korovina, A. G. Kutuzov). At this stage, it is important for the authors of the program to acquaint students with the figurative-expressive and rhythmic-intonational means of the language, to give an initial idea of the symbol.
In the 11th grade, the evolution of the views of M. Gorky is traced, and new ones are added to the already available information about the poetics of this writer. For example, the program edited by A. G. Kutuzov is distinguished by the fact that Gorky's work in the 11th grade is included, not in the section "Soviet literature", as in many programs, but is considered together with the traditionally considered writers of the turn of the 19th-20th centuries - Bunin, Andreev , Kuprin. Namely, the philosophical and ethical ideal of the personality in the early works of the writer, the typology of Gorky's characters - "obstinate", "mischievous", "happy sinners", "merry", "proud in spirit", ideological and philosophical meaning psychological characteristics. From early creativity"The Girl and Death" - the theme of the incompatibility of love and freedom, "The Old Woman Izergil" - the evolution of the artistic interpretation of individualism, "Chelkash" - an attempt to combine free life with the "necessary", "Malva" - the theme of people rejected by life, reality and the free will of the hero are studied , "Konovalov" - the drama of an "unnecessary" person. But in this and other programs in literature, the question of the peculiarities of early M. Gorky's psychologism is not directly raised, although there are grounds for this. So, program developers recommend that the teacher, in the course of analyzing the works of M. Gorky, highlight the following issues - “a new type of writer born of the era” (V. G. Marantsman), “emancipation human soul How main feature Gorky's "new realism" (G. S. Merkin, S. A. Zinin and V. A. Chalmaev), "romantic and realistic stylistic trends in the work of M. Gorky" (A. I. Knyazhitsky). The listed aspects of the study of the works of M. Gorky give us every reason to talk about the presence of psychologism in the early work of this writer.
The analysis of the program material allowed us to identify the following system for the formation of ideas about the literary phenomenon "psychologism", which we will follow in the future: Stage I. Grades 7-8 - the initial formation of an idea of psychologism: the accumulation of facts about the concept, a general idea of the methods of psychological analysis (without detailing, describing each method), a "reduced" description of the phenomenon; II stage. Grades 9-10 - a systematic study of the characteristics of psychologism writers of the 19th century: the formation of ideas about the individual characteristics of artists-psychologists: M. Yu. Lermontov, I. S. Turgenev, F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov definition characteristic features psychologism and their systematization, complete characteristic phenomena; Stage III. Grade 11 - actualization of already acquired knowledge about psychologism and their development in the study of literature at the turn of the XIX - XX centuries: the formation of an idea of the individual characteristics of psychologism A. I. Kuprin, I. A. Bunin, L. Andreev and M. Gorky - determination of characteristic features psychologism and their systematization, extended characteristics of the phenomenon.
Another important stage of our study was the analysis of the main teaching aids intended for the school, which include textbooks, workbooks, teaching aids for the teacher.
Consider first educational material, intended for grade 10, since at this stage, students form an idea of psychologism as a literary concept.
When studying the historical and literary course in the 10th grade, the comprehension of the psychologism of Russian classical literature was placed at the center of the work. The choice of this particular aspect is primarily due to the specifics of literature as an art form. “The subject of art is the human world, the diverse human attitude to reality, reality from the point of view of man. However, it is in the art of the word that a person, as a bearer of spirituality, becomes a direct object of reproduction and comprehension, the main point of application of artistic forces. Comprehension of Russian literature of the second half of the 19th century from the chosen point of view allows us to comprehend in its entirety the individual-author's type of artistic consciousness and the features of the individual style of Russian writers.
The study of psychology of A. I. Kuprin: traditions and innovation
A total of 30 respondents were interviewed. An analysis of the teachers' answers to the proposed questionnaire made it possible to draw the following conclusions: - For the majority of language teachers, the problem of forming and developing an idea of psychologism is relevant. The answer to the question, whether often in your work there is a need to refer to the concept of “psychologism”, was mostly positive. This literary concept belongs to the category of those without which the analysis of a literary text is impossible.
The question that reveals the possibilities of referring to the concept of "psychologism" at various stages of literary education turned out to be rather controversial. Contradictory opinions manifested themselves in the views on the initial period of addressing the concept. Here the teachers were divided into three groups, depending on the choice curriculum in literature: the first group introduces the concept of "psychologism" in the 7th grade when studying the early works of L. Tolstoy, the second - in the 8th when studying the stories of I. Turgenev, the third - in the 9th when meeting the first psychological novel XIX century M. Lermontov "A Hero of Our Time".
In defining the concept of "psychologism", teachers followed the traditional interpretation set out in literary dictionary: "an artistic depiction of the inner world of characters", "the ability to reveal the inner world of a person, to show the course of thought, thinking as a process." But the forms of psychologism were not fully listed by them, from which it can be concluded that most teachers have a general idea of this concept and knowledge about it is not systematized. In addition, the survey revealed another problem: some teachers classify as writers-psychologists those whose prose is traditionally considered "non-psychological". For example, the work of A. Pushkin, N. Gogol, M. Bulgakov.
Most teachers give the concept of "psychologism" a central place in the assimilation of literary knowledge by students. Work on the psychological picture of the work, in their opinion, forms "the ability to analyze the psychological state of the hero, helps to understand his actions, be more attentive when reading the work", "psychological literature makes it possible to understand oneself." But there are those who believe that "psychologism" plays minor role when analyzing a work of art: “This is an auxiliary concept that allows students to form the skill of attentive reading, perception of a work not only at the level of the plot and main idea". Among the skills and qualities of the reader, which are formed in students in the process of working on the peculiarities of the psychologism of a particular writer, teachers noted "thoughtfulness", "observation", "the ability to draw conclusions".
Answering the question, “at what point in the study literary work it is advisable to refer to this concept, ”the teachers settled on several positions, since it depends on the characteristics of the work of art. First, in the process of talking about the hero: psychologism as a means of creating artistic image. Secondly, considering the innovation, the originality of the writer. Thirdly, if this concept is connected with the structure of the work, the idea, the author's position. - The formation of the concept of "psychologism" occurs in most cases in stages, starting with the accumulation of information about this literary concept and ending with the systematization of knowledge about the features of the psychologism of a particular writer, and during the period of development, the process of enriching existing knowledge takes place. Among the techniques used in the formation and development of ideas about psychologism, teachers named "selection of material from a work of art", "linguistic commentary", "analysis of the episode", "analysis of the image-character", "comparison". - The main difficulties that arise in the process of formation and development of the idea of psychologism are associated, according to the majority of respondents, with the inability of students "to carefully read the text, pay attention not only to the plot, to see the full depth of the author's word." “Not everyone, even in high school, understands the essence of this phenomenon, there is not always enough time to pay due attention to this.” “Ideally, of course, one should strive for reading-empathy, not reading-observation.” - In wishes and suggestions, teachers indicated the need methodological developments, manuals devoted to this issue. “Especially for those works that don’t have many teaching hours.”
The processing of the questionnaire data allows us to conclude: when referring to the concept of "psychologism", language teachers feel the need for theoretical and methodological coverage of the issue, the established aspects of considering the concept in school practice require expansion and improvement in accordance with the current state of literary science.
The task of the second stage of the ascertaining experiment was to identify the level and features of understanding by 11th grade students of the meaning of the concept of "psychologism", as well as to determine the degree and quality of the functional and semantic role of the concept in various versions of the text. A diagnostic cross-section of the level of knowledge was carried out in September-October 2005 in schools No. 1018, No. 2002, No. 156, No. 1409 of the Central, Western and South-Western districts of Moscow. We interviewed 100 11th grade students.
Consideration of the problem of self-sufficiency in the early works of M. Gorky and L. Andreev
Gorky was not the first depiction of bosyatstvo in Russia. Before him there were already Gleb Uspensky, Reshetnikov and other writers. But they, like the now-forgotten sociologist-fictionist Bakhtiarov, the author of the book Tramps, were least of all worried about the "philosophy" of tramps. He studied the tramp as a social type. And the results he came to were strikingly different from Gorky's artistic conclusions. According to Bakhtiarov, the main force behind the bashism is the search for food. “The tramps are not homogeneous, among them there are “recidivists”, “mazuriki”, “shooters” and even such an exotic type as “intelligent beggar”. They also unite according to the class principle: former philistines, former artisans, former nobles ... Such a sorting of tramps is carried out in a rooming house by caretakers. Constant concern for food created among the tramps special "social relations", tough "laws", for the violation of which the guilty was severely punished. Thus, the tramp had neither the strength nor the time for his own "I", for clarifying his position in the world, which the heroes of the early Gorky endlessly do. And the position in the world of a tramp was determined by the way he got a piece of bread: for example, he stole, begged or rummaged through the garbage heap.
All this, you see, had little in common with Gorky's image of a tramp. Apparently, the writer was least of all interested in the social image of the bosyatstvo, although from the experience of his youth he knew him no worse and even better than the essayist Bakhtiarov. (About a year and a half, in 1891 - 1892, Gorky traveled around Ukraine, Bessarabia, visited the Crimea, the Kuban, the Caucasus ...). But his artistic vision was somehow special. He searched for and found among the tramps not a social type, but a new moral mood, a new philosophy, which interested him and were spiritually close to him.
The analysis of the story "Chelkash" is proposed to be carried out in the form of group work. Work on the three dialogues proposed for analysis should be aimed at revealing the psychology of the heroes - the tramp Chelkash and the peasant Gavrila, at identifying the author's position regarding the raised problem of self-reliance.
The study of dialogue is impossible without taking into account a number of extra-speech moments: the purpose and subject of statements, the relationship between the interlocutors and their attitude to what was said. The nature of the logical-semantic relations between the parts of the dialogic unity is also connected with the situation of communication, the attitude of the participants in the dialogue to the content of speech, and in this regard, various types of replicas and the type of dialogue are distinguished, the nature of the reaction is established, the speaker's assessment of the facts of the situation and speech, the modal characteristic of the dialogue. The listed aspects of the dialogue were taken into account when filling out the table, which reflected the “psychological situation” (addressee and addressee of the dialogue, attitude towards each other), “objective situation” (about what, the subject of the dialogue) - “semantic structure” (how, type of dialogue). The goal is to follow through the dialogues how the ideological clash of the characters reveals their psychology.
The final version of the table is as follows: First dialogue Second dialogue Third dialogue "Psychological situation": Chelkash feels like a master, and Gavrila feels like a slave. "Objective situation": the central theme of the dialogue is freedom. "Semantic structure": dialogue-interrogation "Psychological situation": the situation is controlled by Gavrila, Chelkash is depressed, succumbed to a feeling of loneliness. "Objective situation" the central theme of the village. "Semantic structure": dialogue-confession "Psychological situation": the characters openly speak about their views, and everyone remains in his opinion. "Objective situation": the central theme of money. "Semantic structure": dialogue-duel
The first group of students working with the dialogue from the first chapter (“What, brother, walked, it seems great!...” - “And they walked down the street next to each other ...”), is invited to answer the following questions: - Why did Chelkash stop his choice on Gavril? Why did you speak to him? - Not knowing the names, how do the characters address each other? What assessment is present in these appeals? - Why does Chelkash ask Gavrila what freedom is for him, is interested in his opinion? - What is freedom for Gavrila? Why does he agree to go on a dubious business, because for him Chelkash is “zakomurist”, “temen”? - What irritates Chelkash in the words and behavior of Gavrila? Why? What is the author's attitude towards these characters? On which side of his sympathy?
In their answers, students note that the struggle of ideas expressed by the main characters is visible from the first line of the story to the last. "The characters' acquaintance with each other begins with non-verbal contact: Gavrila looks at Chelkash with good-natured, trusting eyes, while Chelkash reacts sharply to his attention, thereby expressing a dismissive attitude towards him." The attitude of the characters to each other is also expressed in appeals: Chelkash calls Gavrila "sucker", "child", and Gavrila - "brother", "friend". But it is not Chelkash who starts the conversation, he only picks up his remark, transferring the topic to the plane he needs: “They? How! .. Nothing, guys are free, free ... - And what do you need - freedom? ... Do you love freedom? The dialogue resembles an interrogation, where Chelkash is the interrogator, and Gavrila is the interrogator.
But why does Chelkash ask Gavrila about freedom? The students' answers to this question were ambiguous. Some students thought that Chelkash was driven by interest, others suggested that he knew Gavrila's position, because "he is a very experienced person, who has seen a lot, survived, and is well versed in people." Chelkash wants to debunk Gavrila's view of life, and this speaks of him as a person who seeks self-affirmation of his own position in this. Gavrila is weak, young and easily succumbs to his provocations. If Chelkash's assessment - "fool" - knocks out Gavrila, he "mumbled something in an undertone, rarely throwing sidelong glances at the tramp", "blinking timidly", then Gavrila's assessment of "zakomurist", "temen" - offends Chelkash's pride. At the same time, he does not express his own opinion and does not explain the reason for his discontent, unlike Gavrila, who is in a hurry to justify himself. Here again great importance acquire non-verbal means of language. The author conveys Chelkash's contempt for Gavrila's life views through gestures, facial expressions: “he spat contemptuously and turned away from the guy”, “he jumped off the nightstand, pulled his mustache with his left hand, and clenched his right hand into a hard sinewy fist and his eyes sparkled.”
Despite the internal conflict that has emerged between the characters, Chelkash offers Gavrila a job - why? The students answered the question as follows: “Chelkash, like an experienced thief, immediately realized that this guy was suitable for thieving activities. He was won over by the good nature, naivety of Gavrila. “Gavrila agreed to follow Chelkash, because he immediately felt the owner in him, he trusts this man, his reputation among people.” In addition to this reason, the students identified two more: “Gavrila agrees to do a dubious business, because Chelkash threatens him with force, intimidates him, and because he really needed money.” The author, although not explicitly, expresses his sympathy for Chelkash, one might say, he does not even separate himself from him: “It is always unpleasant to see that a person whom you consider worse and lower than yourself loves or hates the same thing as you, and thus becomes like you."
Summing up all of the above, the teacher draws the students' attention to the fact that already in the first dialogue, Chelkash and Gavrila experience complex feelings for each other, which will later develop into an open conflict. This is distrust of the "ragamuffin", envy and admiration for his dexterity, submissive willingness to serve, fear and servility towards him in Gavrila. On the other hand, Chelkash has a mocking condescension and pity for stupid and inexperienced youth, contempt for the cowardice and greed of a peasant boy, hidden envy and hatred for him. If Gavrila can be characterized from the first dialogue, then the image of Chelkash largely remains closed to the reader, since he can only be judged by his mean emotional reactions to Gavrila's words and behavior. The situation will be clarified by the influence of the philosophy of the German philosopher F. Nietzsche on the early work of M. Gorky, since his idea of the superman is partially embodied in the image of Chelkash. Students are encouraged to listen small message about this theme.
The story "Clean Monday" is included in Bunin's cycle of stories " Dark alleys". This cycle was the last in the life of the author and took eight years of creativity. The creation of the cycle fell on the period of the Second World War. The world was collapsing, and the great Russian writer Bunin wrote about love, about the eternal, about the only force capable of preserving life in its high destiny.
The cross-cutting theme of the cycle is love in all its diversity, the merging of the souls of two unique, inimitable worlds, the souls of lovers.
The story "Clean Monday" contains an important idea that the human soul is a mystery, and women's - especially. And that every person is looking for his own path in life, often doubting, making mistakes, and happiness - if he finds it.
Bunin begins his story by describing a gray winter day in Moscow. By evening, life in the city revived, residents were freed from daytime worries: “... cab sledges rushed thicker and more cheerfully, overcrowded diving trams rattled harder, in the dusk it was already clear how red stars were falling from the wires with a hiss, they hurried more lively along the sidewalks blackening passers-by. The landscape prepares the reader for the perception of the story of "strange love" of two people whose paths tragically parted.
The story shocks with sincerity in the description of the hero's great love for his beloved. Before us is a kind of confession of a man, an attempt to recall old events and understand what happened then. Why did the woman, who said that she had no one besides her father and him, leave him without explanation. The hero, on behalf of whom the story is being told, evokes sympathy and sympathy. He is smart, handsome, cheerful, talkative, madly in love with the heroine, ready for anything for her. The writer consistently recreates the history of their relationship.
The image of the heroine is shrouded in mystery. The hero adoringly remembers every feature of her face, hair, dresses, all her southern beauty. It is not for nothing that the famous Kachalov enthusiastically calls the heroine the Queen of Shamakhan at the acting “skit” at the Art Theater. They were a wonderful couple, both beautiful, rich, healthy. Outwardly, the heroine behaves quite normally. She accepts the courtship of her lover, flowers, gifts, goes with him to theaters, concerts, restaurants, but her inner world is closed to the hero. She is laconic, but sometimes expresses opinions that her friend does not expect from her. He knows almost nothing about her life. With surprise, the hero learns that his beloved often visits churches, knows a lot about the services in them. At the same time, she says that she is not religious, but in churches she is admired by chants, rituals, solemn spirituality, some secret meaning, which is not in the hectic city life. The heroine notices how her friend is burning with love, but she herself cannot answer him in the same way. In her opinion, she is also not suitable for a wife. In her words, there are often hints of monasteries where you can go, but the hero does not take this seriously.
In the story, Bunin immerses the reader in the atmosphere of pre-revolutionary Moscow. He lists the numerous temples and monasteries of the capital, along with the heroine admires the texts of ancient chronicles. Here are reminiscences and reflections on contemporary culture: Artistic theater, an evening of poetry by A. Bely, an opinion on Bryusov's novel "The Fiery Angel", a visit to Chekhov's grave. Many heterogeneous, sometimes incompatible phenomena form the outline of the life of heroes.
Gradually, the tone of the story becomes more and more sad, and at the end - tragic. The heroine decided to part with the man who loves her, to leave Moscow. She is grateful to him for truly loving her, so arranges a farewell and later sends him a final letter asking him not to look for her. material from the site
The hero can not believe the reality of what is happening. Unable to forget his beloved, for the next two years he “disappeared for a long time in the dirtiest taverns, drank himself, sinking more and more in every possible way. Then he gradually began to recover - indifferently, hopelessly ... ". But all the same, on one of those winter days, he drove along those streets where they were alone, "and kept crying, crying ...". Obeying some feeling, the hero enters the Marfo-Mariinsky Convent and in the crowd of nuns sees one of them with deep black eyes, looking somewhere into the darkness. It seemed to the hero that she was looking at him.
Bunin does not explain anything. Whether it was really the hero's beloved remains a mystery. But one thing is clear: there was a great love that first illuminated, and then turned the life of a person upside down.
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On this page, material on the topics:
- psychologism in the prose of m twain
- an essay on the psychologism of Bunin's prose
- clean monday secret psychologism
- psychology of Bunin's prose
- Bunin's psychologism
Ivan Alekseevich Bunin
Goals:
introduce a variety of subjectsBunin's prose;
learn to identify literary devices,
used by Bunin to disclose
human psychology, and other characteristic
features of Bunin's stories;
develop prose analysis skills
text.
Analysis of the text of the story by I. A. Bunin "Antonov apples"
1. What pictures come to mind when readingstory?
What are the features of the composition? Make a plan
story.
3. What is the personality of the lyrical hero?
4. Lexical center - the word GARDEN. How the garden describes
Bunin?
5. Story " Antonov apples", according to A.
Tvardovsky, exclusively "fragrant": "Bunin
breathes in the world; he smells it and gives it smells
reader." Expand the meaning of this quote.
Lexical models:
nostalgia for the fading noblesnests;
elegy of parting with the past;
pictures of patriarchal life;
poeticization of antiquity; apotheosis of the old
Russia;
wilting, desolation of manor life;
sad lyricism of the story. 5. The story "Antonov apples", based on
to the expression of A. Tvardovsky,
exclusively "fragrant": "Bunin
breathes in the world; he sniffs it and gives it
smells to the reader. Uncover content
this quote.
STORY PLAN
1. Remembrance of an early fine autumn.Bustle in the garden.
2. Remembrance of the "harvest year."
Silence in the garden.
3. Memories of hunting (small local
life). Storm in the garden.
4. Remembrance of deep autumn.
Half cut down, naked
garden.
"Sir from San Francisco"
– How the author's concept of the world was conveyed instory?
- What is the person in the image of Bunin?
- What is the climax of the story?
How does the theme of love sound in the work?
How is the theme of the doom of the world expressed in
story "The Gentleman from San Francisco"?
Plan
1. “The artist painted… the image of sin…proud man with an old heart."
2. The name of the ship is symbolic:
Atlantis - sunken mythical
continent.
3. Passengers of the ship - model
human society:
a) parasitism of "pure couples";
b) the death of a gentleman from San Francisco.
10. Collection "Dark Alleys"
I. A. Bunin at the end of hiscreative way confessed
what considers this cycle "the most
perfect in craftsmanship."
The main theme of the cycle is the theme
love, feelings,
revealing the most
hidden corners of the human
souls.
Bunin's love is the basis
all life, then ghostly
happiness to which everything
strive, but often miss.
11.
It's been a wonderful spring!They sat on the shore, the river was quiet, clear,
The sun was rising, the birds
sang;
Stretched for the river dol,
Quietly, luxuriantly green;
Near the wild rose scarlet blossomed,
There was an alley of dark lindens.
N. Ogarev
12.
Love for Bunin is the greatest happiness,given to man. But above it hangs
eternal rock.
Love is always associated with tragedy
true love doesn't have a happy ending
happens because for moments of happiness
the person has to pay.
13.
cycle stories"Dark alleys" -
sample of amazing
Russian
psychological
prose, in which
love has always been
one of those eternal
secrets, which
sought to reveal
word artists
14. Clean Monday
– Prove that the images of the main charactersbuilt on antithesis.
- Explain the title of the story.
- Prove that the story is characterized
artistic brevity, condensation
external imagery that
allows us to speak of a new realism as
writing method.
15. Nobel Prize
"By the decision of the SwedishAcademy of November 9
1933 Nobel
Literature Prize for
awarded this year
Ivan Bunin for strict
artistic talent,
which he recreated in
literary prose
typical Russian
character".
16. Plan for the essay "All love is great happiness ..."
I. Bunin's innovation in covering the theme of love.II. The versatility of Bunin's feelings of love.
1. "Faces of love" in Bunin's stories:
1) love - a feeling hidden from others ("Cup of Life");
2) love turned into revenge (“Last date”);
3) love - swan fidelity ("Grammar of love");
4) love is blinders that make it impossible to imagine happiness with another
("Dreams of Chang");
5) “love is an obsession”, when a person is unable to refuse anything of his
beloved (“The Case of Cornet Elagin”);
6) love is a shock for life (“Sunstroke”);
7) love - resentment (“Dark Alleys”);
8) love - longing for lost happiness (“Rusya”);
9) love as a fusion of sublime adoration for one girl and carnal
attraction to another (“Natalie”);
10) love - bright bitterness about an unfulfilled dream ("Cold Autumn").
III. “All love is a great happiness...” (I. Bunin).
17. Homework
Write an essay on the chosen topic.1. Review of the story I liked.
A. Bunina.
2. Love in the understanding of Bunin.
3. The theme of life and death in I. Bunin's prose.
4. The problem of man and civilization in
Bunin's story "The Gentleman from San Francisco".
Undoubtedly, the problem of depicting Russian reality was the most relevant for I. A. Bunin in the 1910s in comparison with other periods of his work. The surge of national consciousness caused by revolutionary events 1917, is fully reflected in Bunin's psychological prose and is associated precisely with an active understanding of the nature of the Russian person, his abilities, opportunities and further fate. Later, I. A. Bunin continues to write stories about Russian people, continuing to reflect on the "mystery of the Russian soul." This thinking has reached a new level, if only for the reason that significant changes have taken place with Russia, which could not but affect the national self-consciousness of the writer.
The main direction in which Bunin's creativity developed in the 1914-17s was a combination of lyricism of style and psychological self-development of character, analysis and synthesis. I. A. Bunin became the finalist of a whole period of Russian classical literature, “associated with the strengthening of psychologism in it, which obliged him to further develop and enrich poetics and stylistics, to develop new forms of artistic representation ...”
The peculiarities of the poetics of Bunin's lyrical miniatures embodied the specifics of the genre of lyrical prose as fully as possible. Lyrical prose is characterized by the emotional and intellectual self-expression of the hero, the artistic transformation of his individual life experience, which is no less important than the objective depiction of the realities of material reality. Bunin's miniatures include a description presented by A.I. Pavlovsky: “The content of a lyrical work is no longer the development of an objective incident, but the subject itself and everything that passes through it. This determines the fragmentation of the lyrics: a separate work cannot embrace the integrity of life, because the subject cannot be everything at the same moment. An individual person at different moments is full of different content. Although the whole fullness of the spirit is available to him, but not suddenly, but separately, in countless different moments.
Grasping reality in its most important object-sensual manifestations from the point of view of Bunin's hero, the narrator of lyrical miniatures thereby, as it were, splits them into separate realities, each of which is comprehended by him with the greater intensity and depth, the greater the emotional impact it has on him.
No matter how complex and deep phenomena of the spiritual sphere are discussed in Bunin's works of these years, the comprehension of these phenomena invariably turns under the artist's pen into a poetically penetrating, spiritualized self-expression of his lyrical hero. This is achieved by various means. Here is the open lyrical aspiration of the narration, and the balanced musical and rhythmic organization of phrases, and the intensive use of poetic tropes that direct the reader's thoughts in the right direction. As a result, internal monologues, permeated with sad and elegiac reflections on the secrets of life and death, cannot but evoke a certain reciprocal empathy in the soul of the reader.
However, this does not mean that the writer departs from the principles of the artistic depiction of life and man. His stories and stories are based on the same realistic method as in the works of the turn of the century, written in an objective manner, with the only difference that now the disclosure of the comprehended life is refracted through the subjective perception of the individual, whose thoughts and feelings act on the mind and heart of the reader. with no less force than visual realities.
In order to enhance the emotional and aesthetic impact, the writer resorts to his favorite method of associative comparison of life facts and phenomena. Unlike modernists, I. A. Bunin saw in the artistic association not a self-sufficient symbol and not a simple set of spectacular poetic tricks that are not capable of a critical attitude to the depicted, but the most important means of realizing the author's thought, idea. Even with the help of the most remote associations, I. A. Bunin sought to direct the reader in the right direction. Through the complex associative plan, the naked reality of the material and social environment in which he lives, acts and reflects always appears. For example, in the story "Antonov's apples" expressive details of a small local, settled life for centuries, the image of which is one of the leading motifs of the writer's early work, clearly emerge. We see with our own eyes the picking of apples and the fair, and the whole way of the average noble life, going to its decline.
And yet, it is not the realities of socio-historical reality that are significant for the hero-narrator, but the beauty, grandeur of nature, which are the subject of his own thoughts.
In full accordance with the genre of lyrical prose, most of Bunin's works are written in the first person. They resemble the pages of a lyrical hero's diary, who, as a rule, is the only character who unites the action. Of course, one can talk about a specific action with a stretch. There is no well-defined traditional plot containing intrigue or a clash of human characters. Instead, in the foreground, we see "the flow of thoughts and feelings of the hero, subtly feeling and reflecting, passionately in love with life and at the same time tormented by its riddles" . Most pre-revolutionary critics considered Bunin's miniatures as a phenomenon that had nothing to do with the early stories of I. A. Bunin.
The artistic system of I. A. Bunin, his psychologism is bipolar. One of their poles is descriptive (landscape, interior, portrait, and so on). It occupies a different volume in the works - from a relatively modest, functionally connected with the plot, to a self-sufficing text that fills the entire space. But it is constant, firstly, that it is always created according to the same aesthetic laws, and, secondly, it goes beyond strict subordination to the logic of the narrative and exceeds what is necessary.
Its second pole is the plot. Its range is wide from zero to acutely psychological and intense. His presentation can be sequential or discrete, that is, interrupted in time. The plot can be built according to the logic of linear time or on the displacement of time layers. If in the descriptive elements I. A. Bunin is monotonous, then in everything that concerns the plot, he is virtuoso inventive.
The functions of psychological descriptiveness and plot can be understood by comparing them. The system of their interaction is the most important component artistic world I. A. Bunin, leading its origin from the depths of his philosophy of being. In some fragments, descriptiveness is traditionally subordinated to the plot; its function is to overcome the schematism of the plot, to give it concreteness and plausibility. In other cases, not quite subordinate descriptiveness performs other tasks. Thirdly, descriptiveness is sovereign from the plot and correlates with it on other artistic grounds.
The problem of the interaction of two aesthetic poles - plot and psychological descriptiveness - has a special perspective in works where "reality appears through the prism of subjective states that are intermediate in nature from slightly distorted to surreal..." The function of descriptiveness as a beginning that overcomes the centrality of the plot is always A. Bunina prevailing, often acting as the only function.
Many of Bunin's works before the emigration period had no plot. The writer translates their epic content into lyrical content. Everything that the lyrical hero sees is both the phenomena of the external world and the facts of his inner existence (general properties of lyrics).
Life is incommensurably wider than any event, and the aesthetic reality of the story is wider storyline. The story is just a fragment of the boundless being, the frame of the beginning and the end can be arbitrarily imposed in any place. The title plays the same role. Neutral names are often preferred so as not to distort the meaning. The names of Bunin's works are also unpretentious: "New Road", "Pines", "Meliton", etc. The most characteristic among the plotless works of I. A. Bunin is "Epitaph", filled with memories of the past. Bunin's memories are already transformed and poeticized in the depths of consciousness, because they exist in the emotional field of longing for the forever gone. This is manifested primarily in the fact that every detail becomes convex, bright, valuable in itself.
One of the most important functions of the plot and descriptiveness in their totality is the expression of the space-time dimension of life. The verbal art of the 20th century, as it were, is torn beyond its limits. The spatial form allows you to fully feel the value of any moment and any frozen particle of life. It opens the world beyond the boundaries of human existence and correlates its scale with the infinity of human existence.
In descriptiveness, I. A. Bunin realizes the feeling of infinite being. Although the plot sometimes drops to zero, the descriptiveness never does. It has priority, it is always focused on what is outside the work.
The constant and most important function of descriptiveness is the expansion of the human model, in the center of which there is a person, to a cosmic model. Since descriptiveness prevails in lyrical miniatures, their essence is well traced when comparing descriptiveness and plot and revealing their relationship.
Perhaps it is precisely in this connection that the writer removes a negative ethical assessment from some of the negative properties of the Russian person, not having confidence in their national nature and - even in this case - implying the existence of some justifications for the fact that they arose. So, for example, cruelty in a peasant environment can be justified by strong, exhausting love (“Ignat”, “On the Road”) or a peremptory desire for justice (“Good Bloods”). In addition, Bunin's prose artistically embodied the Old Testament worldview of the Russian people, according to which both God and the world that exists according to His laws appear cruel in relation to a defenseless person who is forced only to obey ("Sacrifice"). Love for one's neighbor ("Cricket", "Shoes", "Thin Grass"), beauty of Russian Orthodoxy ("Aglaya", "Prelate", "Saints", "Dream of the Blessed Virgin Mary"), mercy, emotional sensitivity, special (kindred) the nature of spiritual closeness to God (“Saints”, “Prelate”), closeness to nature, including in relation to life and death (“Thin Grass”, “Merry Yard”), striving for a feat (“Zakhar Vorobyov”) , the preservation of ancient tribal traditions that benefit people ("Good blood") - these are a number of positive properties of the soul of a Russian person that create multifaceted image national ideal in the prose of I. A. Bunin and directly correlate with the Christian ideal.
So, in a number of stories by I. A. Bunin, the guardians of the best properties of the Russian character are the old men and old women who are living out their lives or on the verge of oblivion: Anisya (“Merry Yard”), Ilya Kapitonov (“Cricket”), Averky (“Thin Grass” ) and others. The courageous calmness with which the Russian peasant awaits death characterizes the national attitude to life, the question of which I. A. Bunin considers, in particular, in the story "Flies".
The power of selfless parental love is depicted by I. A. Bunin in the story "The Cricket", whose hero, the saddler Ilya Kapitonov, entered into an irreconcilable confrontation with death, trying to win back his son from her. Selflessness as a feature of the national ideal is also manifested in the story "Lapti", but already without determination by kindred feelings. The writer evaluates the death of the hero as a feat that bestowed salvation on other people. The fact that the lost men were able to navigate along the dead body of Nefed and thereby escape, shows the symbolism of the sacrifice made by the hero, and its highest meaning is the battle with death that took place and, to a certain extent, won. Thus, the feature of the national ideal in the perception of I. A. Bunin is not only organic and natural, but also deeply national.
The specificity of the psychologism of I. A. Bunin - the most subjective singer of the objective world - is that it is impossible to talk about the priority of external or internal, subjective or objective. The objective world in its true scales, forms, proportions is such a high value that the soul takes it into itself reverently, avoiding any distortions. But in this soul he exists as a fact of her most intimate life, colored by her entire emotional structure.
