When you start learning English, at first your eyes run wide from the countless rules, exceptions and constructions that you need to know, understand, and even use correctly. Only after some time you realize that this language is not as creepy as it seemed at the very beginning, and you begin to distinguish in the text set expressions, phrasal verbs, etc.

It is for those who are just starting to learn English, who still have porridge in their heads and who want to isolate the so-called must have or, in our case, must know, from all this grammatical chaos, I wrote this article. Today I will tell you about the basic constructions and speech turns that are important to know and that will help you express your thoughts.

1. There is/there are

The main purpose of this construction is to tell the interlocutor that something is somewhere, present. We use there is/there are when we talk about what sights are in our city, when we describe our room or house, when we talk about what is in our bag or backpack.

Please note that sentences with this construction are translated from the end, and there is/there are not translated at all. There is we use with singular, and there are, respectively, with the plural.

For example:

2. To be going to

Design to be going to translates as "gather". We use it when we say that we will definitely do something in the future. It is important to remember that this construction works in cases where the decision was made before the conversation, that is, you decided to learn Italian and after making the decision, you talk to a friend and share your plan with him:

I am going to learn Italian.

Now let's look at how to embed it in a proposal. Verb to be as always changes to am/is/are/was/were/will be depending on the pronoun and tense; going to remains unchanged and is translated as “gather”, and then there is always a verb that says what exactly you are going to do.

They are going to get married this winter. They are going to get married this winter.
We are going to earn a lot of money next summer. - We're going to make a lot of money next summer.
I am going to leave for London tomorrow. - I'm going to leave for London tomorrow.

3. The way

This turn of phrase is, in my opinion, the most interesting, because it can be applied to many situations. The very word way translated as "road" and "direction". Very often, beginners in English cannot understand what the road has to do, for example, with the description of a person. We will talk about such situations now.

turnover the way can convey an action pattern. For example, you can say that you like the way she dances or the way she looks. In this case, “how” is our turnover the way:

I like the way you dance. - I like the way you dance.
He likes the way I cook. He likes the way I cook.

Also turnover the way can be translated as "way". For example:

Working hard is the only way to get your goal. - Working hard is the only way to achieve your goal.

I would like to note that this is not the only meaning and possibility of using the way. With this turnover, there are both stable expressions and verb constructions, but for the first time the meaning discussed above will be quite enough.

4. It takes

This design is also quite common and will definitely be useful to you when traveling abroad. This phrase is used when we say how long an action takes. We can use it to ask how long it will take to fly to a destination, or how long a taxi ride to the city center will take.

It takes me an hour to get to work. It takes me one hour to get to work.
The flight to Moscow takes 3 hours. - The flight to Moscow takes three hours.
My morning exercises take me 15 min. - My morning exercises take me 15 minutes.

Let's summarize and repeat once again what situations each of these designs is suitable for:

• there is/there are we use it when we tell what objects are in a room, house, bag, city, and so on;
• to be going to use when we are going to do something;
• the way suitable for describing the manner of action;
• it takes we use when reporting how long an action takes.

And finally, I would like to give a little advice for those who are just starting to learn English: do not try to understand all the rules at once. Accumulate knowledge in stages, learn first simple words, rules and times, and then move on to more complex ones. And, of course, be patient with yourself and with English.

1. LECTURE. METHODOLOGICAL BASES AND THEORETICAL

PRINCIPLES OF STUDYING THE COURSE OF RUSSIAN LITERATURE SECOND

HALF OF THE XX - BEGINNING OF THE XXI CENTURIES. PROBLEMS OF PERIODIZATION

The main features and trends in the development of Russian literature in the second half of the 20th - early 21st centuries. in the context of epoch-making events in Russia and the world. Transformation or disappearance of individual artistic movements and trends. Realism, spiritual realism, metaphysical realism, post-realism and their offshoots. Symbolism, acmeism, expressionism, naturalism as the basis for the emergence of secondary artistic systems at the turn of the 20th-21st centuries. Russian literature of the third wave of emigration. The interaction and interpenetration of classical and non-classical art systems, the synthesis of traditions and innovations is the core literary process the specified period. Problems of periodization of Russian literature in the second half of the 20th - early 21st centuries.

Methodological bases and theoretical principles of studying the course. The concept of personality, creative method, style, genre as components of the category of the artistic system. The model of the method and its components: the principle of modeling the world, artistic generalization, type of aesthetic evaluation. Strengthening the subjectivity of artistic consciousness at the end of the twentieth century. Genre-style diffusion and synesthesia.

The type of connection between the work and reality (realistic, modernist, postmodern), the connection between works (stylistic flow), the connection within the work (poetics of style and genre).

Leading artistic systems in modern Russian literature. Realism, modernism, postmodernism and criteria for their stylistic differentiation.

2. Lecture. The main trends in the development of prose in the 1950s-1960s.

The search for a new concept of man as the core of the writer's quest of the post-war years and the period of the "thaw". The revival of the production novel genre. The novel by V. D. Dudintsev “Not by Bread Alone” (1956) and the controversy it caused. Rethinking the nature of social conflicts in the novel by G. E. Nikolaeva "The Battle on the Road" (1957). The personality of the leader and the novelty of the method of generalizing character in the novel-study by A. A. Beck "The New Appointment" (1960-1964).

The problem of the "truth of life" as a cornerstone aesthetic formula of time. Breaking out of the socialist realist paradigm and gravitation towards traditional socialist realist models in the novels "The Searchers" (1954) and "I'm going into a thunderstorm" (1962) by D.A. Granina, "Search and Hope" (1957) V.A. Kaverina, "The Ershov Brothers" (1958) V.A. Kochetova et al. Industrial conflicts as a basis for moral and psychological conflicts.

The rise of journalism at the beginning of the "thaw". Criticism of the scheme of functioning of the Soviet state system in the book of essays by V.V. Ovechkin "District weekdays" (1952-1956). Its genre and style features. "Ovechkin school" in journalism. Analysis of the psychological phenomenon of the Soviet era in the story of A.Ya. Yashin "Levers" (1957).

The evolution of the naturalistic line in the prose of V.F. Tendryakov. An autopsy of the corrupting impact on a person of the Soviet economic system in the story "Knobs" (1956). The study of negative changes in life in the story "The Fall of Ivan Chuprov" (1953), the story "The Mayfly - a Short Age" (1965), the novel "Death" ( 1968). Problem-thematic originality of the story "A Pair of Bays" (1969).

The lyrical trend in the development of prose in the 1950s-1960s. The birth of new genre and style forms. Genre features of books Golden Rose» (1956) K.G. Paustovsky, "Vladimir country roads" (1957) V.A. Soloukhin and "Daytime Stars" (1959) O.F. Bergholz. Biographism as their special stylistic dominant. Typological features lyrical prose.

"Movism" V.P. Kataeva in the books Grass of Oblivion (1967), Broken Life, or the Magic Horn of Oberon (1972), My Diamond Crown (1977) and others. The theme of poetic existence as a way to overcome death. Restoration of the interrupted thread of the literary process and revival of the poetics of modernism. Symbiosis of realistic and modernist traditions in V.P. Kataev 1960-1970s

The variability of the lyrical tendency and the moral and psychological conflict in P.F. Nilin "Cruelty" (1956).

"Confessional (youth) prose" in the literary process of the 1950s-1960s. The type of a young reflective hero and his conflict with the surrounding reality. The crisis of "confessional prose" by the mid-1960s. and its transformation into a new version of the "school story" in the 1970s.

3. LECTURE. NOVEL "PYRAMID" L. M. LEONOV (1899-1994)

"Pyramid" (1994) as a socio-philosophical fantasy novel. The symbolic meaning of the name. Summing up the current cycle of human history. The fate of Russia and mankind.

The plot structure of the novel. Russian research national character. The Problem of Good and Evil. The image of I.V. Stalin. Eschatological context of the novel and the motives of the Apocalypse. Biblical and apocryphal sources of the work.

4. ON ONE'S OWN. MAIN TRENDS IN THE DEVELOPMENT OF PROSE

1960-1970s (2 points)

1. The main directions of development of military prose. The truth about the war and the disclosure of the heroism of the Soviet people in the novels of K.M. Simonov "The Living and the Dead" (1960-1970), V.S. Grossman "Life and Fate" (1961), A.B. Chakovsky "Blockade" (1968-1974), Yu.V. Bondarev "Hot Snow" (1969), I.F. Stadnyuk "War" (1970-1980), V.O. Bogomolov "In August forty-fourth ..." (1973), E.I. Nosov "Usvyatsky helmet-bearers" (1977), V.Ya. Kondratiev "Sashka" (1979) and others. "Panoramic" and "trench" in the depiction of the war and attempts to combine them.

2. Front-line lyrical story (“lieutenant prose”) as a special genre of military prose, its genre and style unity (Yu.V. Bondarev “Battalions ask for fire” (1957) and “Last volleys” (1959), G.Ya. Baklanov "A span of the earth" (1959), K. D. Vorobyov "Killed near Moscow" (1963), etc.). Stylistic features of the front-line lyrical story: the type of the hero, the fusion of naturalistic and lyrical poetics ("Remarqueism"), lyrical expression, the conciseness of space and time.

3. Artistic understanding of the tragic contradictions of the era in the panoramic novels of P.L. Proskurin and A.S. Ivanova.

4. True depiction of the tragedy of collectivization in the novels of I.I. Akulova "Kasyan Ostudny" (1978), M.A. Alekseev "Brawlers" (1981), B.A. Mozhaev "Men and women" (1986), stories by S.P. Zalygin "On the Irtysh", etc.

5. Social and philosophical aspects of science fiction prose of the 1960s-1970s (I.A. Efremov, A.N. and B.N. Strugatsky).

Dedkov I.A. Return to yourself. Literary-critical articles. M.: Sovremennik, 1978. S. 172-176, 210-225.

Dedkov I.A. The Living Face of Time: Essays on Prose of the Seventies and Eighties. M.: Soviet writer, 1986. S. 6-46, 149-176.

Dedkov I.A. Sergey Zalygin: Pages of life, pages of creativity. M.: Sovremennik, 1985. S. 164-231.

Zaitsev V.A., Gerasimenko A.P.. History of Russian literature of the second half of the twentieth century: Textbook. M.: Higher School, 2006. S. S. 136-137; 191-209.

Klitko A.I. Depth of focus (On the prose of our days). M.: Sovremennik, 1981.

Kondratovich A.I. Vocation: Portraits. Memories. Controversy. M.: Soviet writer, 1987. S. 30-43.

Lazarev L.I. Konstantin Simonov: Essay on life and work. M: Fiction, 1985.

Modern Russian Literature: In 3 books: Textbook. M.: Editorial URSS, 2001. Book. 1. S. 110-124; 139-151; Book. 2. S. 13-16, 19-21, 194-200.

Russian literature of the twentieth century: Textbook for students. higher ped. textbook institutions: In 2 volumes. Ed. L.P. Krementsov. M.: Publishing Center "Academy", 2002. Vol. 2. S. 264-269, 271-274.

Strugatsky B. Commentary on the past. St. Petersburg: Amphora, 2003.

Amusin M. Strugatsky and the uncertainty principle // Neva. 2005. No. 4. S. 190-200.

Surganov V.A. Man on earth. The theme of the village in Russian Soviet prose of the 50-70s. Origins. Problems. Characters. M.: Soviet writer, 1981. S. 377-403.

Vasyuchenko I. Rejecting Sunday: Notes on the work of A. Strugatsky and B. Strugatsky // Banner. 1989. Book. 5. S. 216-225.

Chudinov P.K. Ivan Antonovich Efremov. 1907-1972. Moscow: Nauka, 1987.

Korableva T.F. Philosophical worldview of I. Efremov in the context of Russian culture: (Russian cosmism and philosophy of activism) // Supernova. № 27-28.

Lobanov M. Liberation: About the novel by M. Alekseev "Brawlers" // Volga. 1982. No. 10. S. 145-164.

Sergeev E."...Search for the happiest occasion." Notes on the work of S.P. Zalygin // Banner. 1986. Book. 3. S. 205-215.

Starikova E. For what? // Children's literature. 1990. No. 11. S. 11-18.

5. ON ONE'S OWN. MAIN TRENDS IN THE DEVELOPMENT OF POETRY IN THE 1950-1970s (1 point)

Test questions

1. The main features of the development of poetry in the 1950s-1970s: the reflection of public sentiment and the formation of a new social consciousness, the assertion of the value of the human personality, the intensity of artistic and genre-style searches.

2. Completion of the creative evolution of A.A. Akhmatova, B.L. Pasternak, N.A. Zabolotsky. Creative renewal of A.T. Tvardovsky, L.N. Martynova, Ya.V. Smelyakova. The activities of literary associations, entry into literature E.B. Reina, I.A. Brodsky, A.S. Kushner, G.Ya. Gorbovsky and others.

3. The phenomenon of "sixties". "Loud", pop poetry (E.A. Evtushenko, R.I. Rozhdestvensky, A.A. Voznesensky, B.A. Akhmadulina, etc.).

4. The phenomenon of "quiet" lyrics (A.V. Zhigulin, N.M. Rubtsov, Ya.V. Smelyakov, V.N. Sokolov, etc.).

5. Statement of socio-philosophical and moral problems, comprehension of historical events, creation of a psychologically in-depth image of a contemporary hero in the genre of a poem (V.A. Lugovskoy "Middle of the Century" (1943-1957), B.A. Ruchyev "Lyubava" (1962 ), Y. V. Smelyakov "Strict Love" (1956), V. D. Fedorov "Sold Venus" (1956), E. A. Isaev "Court of Memory" (1962) and others.

Bibliography

Zaitsev V.A. Russian Soviet poetry. 1960-1970s: (Style searches and trends). Moscow: MGU Publishing House, 1984.

Zaitsev V.A., Gerasimenko A.P.. History of Russian literature of the second half of the twentieth century: Textbook. M.: Higher school, 2006. S. 10-40; 51-54; 238-249.

. 1941-1980. L.: Nauka, 1984. S. 135-213.

Leiderman N.L., Lipovetsky M.N. Modern Russian Literature: In 3 books: Textbook. M.: Editorial URSS, 2001. Book. 1. S. 79-90.

Mikhailov A.A. Andrei Voznesensky. Sketches. M.: Artist. literature, 1970.

Redkin V.A. Russian Poetry of the Second Half of the 20th Century: Textbook. Tver: Tver. state un-t, 2006. S. 23-86, 132-138.

Redkin V.A. Russian poem of the 1950s-1980s. Genre. Poetics. Traditions. Tver: Tver. state un-t, 2000. S. 201-210.

Russian literature of the twentieth century: Textbook for students. higher ped. textbook institutions: In 2 volumes. Ed. L.P. Krementsov. M.: Publishing Center "Academy", 2002. T. 2. S. 132-139.

Russian poets of the 20th century: Tutorial. M.: Flinta: Science, 2002.S. 190-304.

Sidorov E.Yu. Yevgeny Yevtushenko: Personality and creativity. M.: Fiction, 1987.

6. LECTURE. POSTWAR CREATIVITY A.T. TVARDOVSKY (1910-1971)

The crisis nature of A.T. Tvardovsky in the late 1940s. The extreme poles of the amplitude of his creative fluctuations: the lyrical-epic poem "The House by the Road" (1946) and the ode "The Word of Soviet Writers to Comrade Stalin" (1949). The poet and the events of 1953-1956.

Burlesque poem "Terkin in the next world" (1954-1963). Synthesis of a conventionally fantastic plot and realistic everyday details. A satirical denunciation of the Soviet state machine.

The poem "Beyond the distance - the distance" (1950-1960) is a lyric-philosophical epic about modernity and the era. History of creation. The movement of the hero in time and space as the basis of the plot of the work. Emotional change and its causes. The transformation of the plot into a confessional introspection of the author. The tragic theme of mass repression. Chapters "Childhood Friend", "Literary Conversation", "With Myself", "That's How It Was", "To the New Distance". Comprehension by the lyrical hero of the "cult of personality" I.V. Stalin and breaking out A.T. Tvardovsky from the canonical framework of socialist realism.

Lyric-tragedy poem-cycle "By the right of memory" (1966-1969). The specifics of its socio-philosophical issues and connection with the poem "Beyond the distance - distance". The book "From the lyrics of these years" (1969). Mutual correction of philosophical and social plans. Motives of eternity, birth and death, debriefing. Strengthening the motive of moral self-sufficiency, the pathos of social fearlessness. "Poetics of artlessness" as a characteristic feature of A.T. Tvardovsky of these years.

7. LECTURE. "VILLAGE PROSE" IN RUSSIAN LITERATURE OF THE XX CENTURY

"Village prose" as a writing school. convention of this term. Genre originality of "village prose". V.V. Ovechkin, V.F. Tendryakov, G.I. Troepolsky, F.A. Abramov, V.I. Belov, B.A. Mozhaev, V.G. Rasputin, V.M. Shukshin, V.P. Astafiev, V.I. Likhonosov as its most prominent representatives. The contribution of journalism to "village prose" in the 1980s.

Typological features and artistic discoveries of "village prose": the study of the Russian national character, the embodiment of high morality, the search for the religious foundations of life, the images of the righteous and "rebels". A true depiction of the tragedy of collectivization in the novels of I.I. Akulova, V.I. Belova, M.A. Alekseeva, B.A. Mozhaeva, S.P. Antonova. Poetics of "village prose".

8. ON ONE'S OWN. CREATIVITY V.I. BELOV (born 1932) (1.5 points)

Test questions

1. The beginning of the creative path of V.I. Belova. Genre and style originality of his short stories of the 1960s. Humorous miniatures "Vologda bays" (1969).

2. Poeticization people's labor, life, manners and customs in the book of essays "Lad" (1971-1981). Its analytic and polemic.

3. Historiosophical interpretation of the fate of the country, the peasantry and folk culture, the truth about collectivization in the trilogy "Eve", "Year of the Great Turn", "Sixth Hour. Chronicle of 1932" (1972-1998).

Bibliography

Gorbachev V.V. Comprehension: Articles about literature. Moscow: Soviet Russia, 1989.

Dyuzhev Yu.I. The novelty of tradition. M.: Sovremennik, 1985. S. 162-210.

Ershov L.F. memory and time. M.: Sovremennik, 1984. S. 212-246.

Kozhinov V.V. Articles about contemporary literature. M.: Sovremennik, 1982. S. 60-67, 197-204.

Leiderman N.L., Lipovetsky M.N. Modern Russian Literature: In 3 books: Textbook. M.: Editorial URSS, 2001. Book. 2. S. 43-49, 54-57.

Mineralov Yu.I. History of Russian literature: 90s of the XX century: Proc. allowance for students. higher textbook establishments. M.: Humanitarian publishing center VLADOS, 2002. S. 51-57.

Nezdvetsky V.A., Filippov V.V. Russian "village" prose. M.: Publishing House of Moscow State University, 1999. S. 82-114.

Seleznev Yu.I. Vasily Belov: Reflections on the creative fate of the writer. Moscow: Soviet Russia, 1983.

From different points of view: "Eves" by Vasily Belov. M.: Sov. writer, 1991.

Slavnikova O. Village prose of the ice age // New world. 1999.

No. 2. S. 198-207.

9. ON ONE'S OWN. MAIN TRENDS IN THE DEVELOPMENT OF RUSSIAN DRAMA IN THE 1950-1980s (1.5 points)

Test questions

1. The genre of lyrical melodrama in the dramaturgy of the 1960s. (A.M. Volodin, A.N. Arbuzov, L.G. Zorin, S.I. Alyoshin, etc.).

2. The specificity and relevance of the moral conflict in the play by V.S. Rozova "Good afternoon!" (1954).

3. Socio-psychological drama of the 1970s-1980s (“The Capercaillie Nest” (1978) by V.S. Rozov, “Tales of the Old Arbat” (1970) by A.N. Arbuzov).

4. Problems of scientific and technological revolution and criticism of the bureaucratic system in the industrial drama of the 1970-1980s. (I.M. Dvoretsky, A.I. Gelman).

5. The main trends in the development of drama in 1970-1985

Bibliography

Gromova M.I. Russian drama of the late XX - early XXI century: Textbook. - 2nd ed., Rev. – M.: Flinta: Nauka, 2006. S. 6-57.

Zaitsev V.A., Gerasimenko A.P.. History of Russian literature of the second half of the twentieth century: Textbook. M.: Higher school, 2004. S. 177-179.

Kanunnikova I.A. Russian dramaturgy of the XX century: Textbook. M.: Flinta: Nauka, 2003. S. 97-115, 158-180, 192-202.

Russian literature of the twentieth century: Textbook for students. higher ped. textbook institutions: In 2 volumes. Ed. L.P. Krementsov. M.: Publishing Center "Academy", 2002. Vol. 2. S. 216-248, 409-425, 434-442.

10. LECTURE. CREATIVITY V.P. ASTAFYEVA (1924-2001)

The main milestones of the biography of the writer. The beginning of a creative path (book of stories "Until next spring", 1953). The stories "The Pass" (1958-1959), "Starfall" (1960-1972), "Theft" (1961-1965), "The Shepherd and the Shepherdess" (1967-1971, new edition 1989) and their role in the creative development of .P. Astafiev.

Prose V.P. Astafiev as a continuation of the neoclassical line in Russian literature of the twentieth century. The main periods of the writer's work and the specifics of his ideological and artistic evolution.

The originality of the embodiment of the theme of war and the mastery of psychologism in the story "The Shepherd and the Shepherdess" (1971, 1989). The story "Ode to the Russian Garden" (1972) is a poetic hymn to the industriousness of the peasant.

The story "The Last Bow" (1967-1992) as a phenomenon of lyrical prose. The book of memoirs "The Sighted Staff" (1982) and the collection of miniatures "Zatyosi" (1982). Philosophical understanding of the theme "man and nature" in the narrative in the stories "Tsar-fish" (1976).

Publicistic beginning and cruel realism of the story "The Sad Detective" (1986). Proclaimer type of hero. Patriotic self-criticism of the author in assessing the character of a Russian person. Problems of compassion, inner, spiritual life of a "little" person in the story "Lyudochka" (1989).

The truth of war in the monumental novel Cursed and Killed (1990-1994). Naturalistic depiction of military life and the wrong side of army life. The inconsistency of the revealing pathos of the novel. Features of the genre of the work. The problematic originality of the stories “So I want to live” (1994-1995) and “Obertone” (1995-1996).

The philosophical and autobiographical nature of the novel by V.P. Astafiev "Merry Soldier" (1987-1997). The boldness of the author's position of the preacher and accuser. Place V.P. Astafiev in Russian literature of the XX century.

11. LECTURE. CREATIVITY V. G. RASPUTIN (b. 1937)

The beginning of a creative biography. Collections of essays and short stories "Bear skin for sale", "The edge near the sky" and "Campfires of new cities" (1966). Psychologism of the story "Money for Mary" (1967). The problem of choice and spiritual connection of generations in the story "Deadline" (1970).

The transition to a deep understanding of the complex issues of our time in the story "Live and Remember" (1974). The problem of crime and punishment in the socio-philosophical aspect. The writer's appeal to the traditions of F.M. Dostoevsky. Realism and symbolism of the work.

Moral and philosophical questions in the story-elegy "Farewell to Matyora" (1976). The connection of the fate of the village with the problems of nature, culture, ecology. Understanding the relationship between morality and progress, the origins and goals of human existence, the embodiment of the Russian idea of ​​catholicity. Image system. The use of author's symbols and folklore origin.

Philosophical and journalistic story "Fire" (1985). Strengthening the author's preaching function. Advantages and disadvantages of "Fire" as a work of realistic prose of the transitional period.

Drama in the depiction of life, the synthesis of journalism and deep psychologism in the story "Unexpectedly" (1997). Moral opposition of urban civilization and the countryside. The symbolic meaning of the work. Images of Russian women and the problem of ontological impasse in the stories of the 1990s. (“The hut”, “At home”, “To the same land...”, “In the hospital”, “New profession”). The problem of national catastrophism in the story "Ivan's daughter, Ivan's mother" (2003).

The ideological origins of V.G. Rasputin.

13. ON ONE'S OWN. CAMP PROSE IN RUSSIAN LITERATURE OF THE SECOND HALF OF THE XX CENTURY (1 point)

1. Problematic and thematic specificity of works united by the term “ camp prose". Its place in Russian literature of the second half of the twentieth century.

2 Memoirs and biographical books of E.S. Ginzburg "The Steep Route" (1967), A.V. Zhigulina "Black Stones" (1988), O.V. Volkov "Immersion in darkness" (1957-1979). "The Gulag Archipelago" A.I. Solzhenitsyn is the main book on this subject.

3. The theme of repression in the novels of A.N. Rybakov "Children of the Arbat", "35th and other years" (1988-1989).

4. Features of the image and perception of camp life in "Kolyma Tales" (1954-1973, 1978) V.T. Shalamova.

5. Specificity of implementation camp theme in socio-psychological novels by Yu.O. Dombrovsky "Keeper of Antiquities" (1964) and "Faculty of Useless Things" (1988).

6. Socio-moral problems of the novel "Faithful Ruslan" by G.N. Vladimov (1931-2003).

Leiderman N.L., Lipovetsky M.N. Modern Russian Literature: In 3 books: Textbook. M.: Editorial URSS, 2001. Book. 1. S. 216-228.

Russian literature of the twentieth century: Textbook for students. higher ped. textbook institutions: In 2 volumes. Ed. L.P. Krementsov. M.: Publishing Center "Academy", 2002. T. 2. S. 285-287, 289-298.

From different points of view: "Children of the Arbat" by Anatoly Rybakov. Moscow: Soviet writer, 1990.

Sukhikh I.N. Twenty books of the twentieth century. Essay. St. Petersburg: Paritet, 2004, pp. 388-426.

Shklovsky E.A. Varlam Shalamov. Moscow: Knowledge, 1991.

Anninsky L. Heart of a dog?: From notes on G. Vladimov's prose // Literary Review. 1989. No. 8. S. 20-25.

Istogina A. Under the sign of memory: [A. Zhigulin] // Literary Review. 1989. No. 7. S. 54-57.

Karpov A.S., Chistyakov A.V. In the world of trampled humanity: About the story of G. Vladimov "Faithful Ruslan" // Russian literature. 1995. No. 6. S. 32-36.

Korobkov L. Millstone of lies: [A. Zhigulin] // Young guard. 1989. № 12.

Zverev A.«Deep well of freedom…»: [Yu. Dombrovsky] // Literary Review. 1989. No. 4. S. 14-20.

Lurie Ya.S. Reflections on Yu. Dombrovsky // Star. 1991. No. 3. S. 171-176.

Discussion"Black Stones" by A. Zhigulin // Questions of Literature. 1989.

No. 9. S. 105-158.

Piskunova S., Piskunov V. Aesthetics of freedom: About the novel by Yu. Dombrovsky "Faculty of unnecessary things" // Star. 1992. No. 1. S. 172-180.

Sivokon S. Modest celebrity: About E. Ginzburg and her book "The Steep Route" // Family and school. 1991. No. 3. S. 48-51; No. 4. S. 51-53.

Sinyavsky A. People and animals: Based on the book by G. Vladimov "Faithful Ruslan (the story of the guard dog)" // Questions of Literature. 1990. No. 1. S. 61-86.

Shklovsky E. Confrontation Formula: [O. Volkov] // October. 1990. № 5.

Polikovskaya L. Self-portrait with a noose around his neck: [O. Volkov] // Literary Review. 1990. No. 7. S. 50-53.

Khorobrova E.A. The story of G. Vladimov "Faithful Ruslan" (XI class) // Literature at school. 2001. No. 7. S. 35-37.

14. LECTURE. "URBAN PROSE" IN RUSSIAN LITERATURE OF THE XX CENTURY

The emergence of "urban prose" in Russian literature of the second half of the twentieth century. The conditional nature of the term. "Urban" and "village" prose: the problem of co- and opposition. Typological features of "urban" prose: conjugation of the plot with a complex of moral issues, in-depth psychologism, appeal to important intellectual, ideological and philosophical problems of the time. The specificity of the heroes of "urban" prose.

Urban theme in the prose of S.D. Dovlatova, S.E. Kaledina, M.N. Kuraeva, V.S. Makanina, L.S. Petrushevskaya, Yu.M. Polyakova, V.A. Pietsukha and others. Identification of the phenomenon of female prose (T.N. Tolstaya, V.S. Narbikova, V.S. Tokareva).

Creativity Yu.V. Trifonov (1925-1981). The depiction of the life of the Moscow intelligentsia in the stories "The Exchange" (1969), "Preliminary Results" (1970), "The Long Goodbye" (1971), "Another Life" (1975). Polysemantic character of names. Features of psychology. The use of the form of "novels of consciousness" and the specificity of the expression of the author's position.

The novel "The Old Man" (1978) as an artistic study of the problem of "man in history". Contrasting images of Pavel Letunov and Sergei Migulin. The author's vision of the revolution and the tragedy of the Don Cossacks. The role of secondary characters in the disclosure of the problems of the work. Correlation of temporary plans and features of the composition of the novel. affirmation of the philosophy of life. The mastery of the writer's psychology.

Creativity Yu.V. Trifonov and the psychological trend in realistic prose of the last third of the 20th century.

15. ON ONE'S OWN. MAIN TRENDS IN THE DEVELOPMENT OF POETRY IN THE 1970-1990s (1.5 points)

Test questions

1. New ideological and artistic trends in the poetry of this period. Overcoming the "inertia of style and thinking." Strengthening the civil-journalistic beginning. The sharpness of the formulation of social and spiritual problems of society. The emergence of new poetic groups. The dispute between traditional and avant-garde poetics.

2. The theme of Russia and the Russian village in the poetry of N.I. Tryapkin (1918-1999). Appeal to national history, religious and moral problems of our time. Civic pathos of his poems of the 1990s.

3. Features of the style and poetics of N.I. Tryapkina: connection with folk songs, cosmism, genre and style synthesis, author's symbolism, plurality of rhythmic and metrical variations.

4. The main themes and motives of V.N. Sokolova (1928-1997): homeland, love, nature and history, man and time, the essence of poetic creativity.

5. Specific features of the style and poetics of V.N. Sokolova: subtle psychologism, philosophy, fidelity to classical traditions, penetrating lyricism, naturalness of poetic means.

6. The role and place of N.I. Tryapkin and V.N. Sokolov Russian literature of the second half of the twentieth century.

Bibliography

Genre-style problems Russian literature of the twentieth century: Collection of articles. Tver: Golden Letter, 2003, pp. 4-40.

History of Russian Soviet poetry. 1941-1980. L.: Science. Leningrad branch, 1984. S. 214-272.

Lanshchikov A.P.“Everything that leaves goes into the future…”: [V. Sokolov] // Lanshchikov A.P. Favorites. M.: Sovremennik, 1989. S. 449-454.

Mikhailov A.A."Far from all Parnassus" (Vladimir Sokolov) // Mikhailov A.A. Selected works: In 2 volumes. M.: Khudozh. Literature, 1986. T. 2. S. 237-266.

Mikhailov A.A. Poets live in Russia. M.: Sovremennik, 1973. S. 143-177.

Redkin V.A. Russian Poetry of the Second Half of the 20th Century: Textbook. Tver: Tver. state un-t, 2006. S. 139-190.

Chuprinin S. Vladimir Sokolov - the price of harmony // Chuprinin S. Close-up: Poetry of our days: problems and characteristics. M.: Soviet writer, 1983. S. 131-145.

Boynikov A."... I was born in the heart of Russia." On the work of our countryman, the outstanding Russian poet Nikolai Tryapkin // Tverskiye Vedomosti. 2003.

Boynikov A. Poems - every day the soul is wide open ... // Veche Tver. 2003. No. 70. April 18. S. 7.

Bondarenko V. Outcast poet: [N.I. Tryapkin] // Our contemporary. 2002.

No. 8. S. 240-252.

Kotelnikov V. Perun's tree of the poet: On the poetry of N. Tryapkin // Literary studies. 1985. No. 5. S. 136-146.

Kunyaev S."... The inescapable garden": notes on the poetry of N. Tryapkin // Moscow. 1989. No. 4. S. 193-197.

Tryapkin N.I. About myself // Tryapkin N.I. Already, apparently, that lot fell to us ...: Poems. M.: Russian book, 2000. S. 3-6.

16. LECTURE. HISTORICAL PROSE IN RUSSIAN LITERATURE OF THE 1970-1990s

Reasons for the activation of the historical theme in Russian literature of the specified period. Moral-philosophical comprehension of the past. The connection of historical novelists with the traditions of Russian classics and the experience of the intellectual novel of the 20th century. Overcoming the aesthetic narrowness and bias in the selection of facts, the rejection of the politicization of history and the idealization of historical figures. Historical prose as a form of departure from ideologized modernity.

Leading types of historical prose of the 1970s-1990s: historical novels proper, books seeking answers to contemporary questions in history, parabolic writings addressing eternal questions concretized by history.

Cycle "The sovereigns of Moscow" D.M. Balashov (1927-2000) is an artistic recreation of the history of Russian statehood. The main features of his novels are: national-patriotic pathos, posing the problem of "man and power" in various aspects, a special language, journalistic digressions, poetics of contrasts, the embodiment of the creative forces of the Russian people and the drama of time. Historiosophical concept of D.M. Balashova.

Personal level of comprehension of history in historical novels V.M. Shukshin "I came to give you freedom" (1971, 1974), Yu.V. Davydov "Two bundles of letters" (1983), V.A. Chivilikhin "Memory" (1984).

The parabolic novels A Sip of Freedom (Poor Avrosimov, 1971), Traveling Amateurs (1979), Appointment with Bonaparte (1983) B.Sh. Okudzhavas (1924-1997) and their place in historical prose of the 1970s-1990s. A pronounced lyrical beginning, conditional forms of the image, the fascination of intrigue and the paradoxical nature of situations. Biplanar metaphorical narrative.

The phenomenon of historical prose by V.S. Pikul (1928-1990). The resurrection of the mainstream historical fiction genre. The inconsistency of critical assessments of his prose. Patriotism and the desire for historical authenticity as characteristic properties of the writer's historical novels.

Typological features of historical prose of the 1970s-1990s.

17. LECTURE. THE WORKS OF A. I. SOLZHENITSYN (1918-2008) )

The fate of the writer and the evolution of his worldview. Pictures of camp everyday life and the breadth of artistic generalization of life in the story "One Day in the Life of Ivan Denisovich" (1962). The image of the protagonist as the personification of the Russian, peasant origin. composition specifics. The special speech structure of the work as a form of expression of the people's consciousness.

The story "Matryonin Dvor" (1963) in the context of "village" prose. Reflections on the essence of the national character in the story "The Incident at the Kochetovka Station" (1963).

Appeal to the most complex set of problems (“the Russian question”) since the early 1960s. The novel "In the first circle" (1955-1968, 1990) . The meaning of the name, the specifics of time and space. The nature of the philosophical discussion of the main characters of the novel. Problems of moral choice, rightness and guilt. The universal problem of life and death in the socio-psychological novel "Cancer Ward" (1966).

"The Gulag Archipelago" (1968) – tribute to the victims of political repressions of the 20th century. The metaphorical meaning of the title. genre features. Combination of documentary and journalism. The main author's idea and ways of expressing it. Philosophy of history. The problem of human inner freedom and the idea of ​​catharsis.

The concept of Russian history and revolution in the epic "Red Wheel" (1969-1983). The genre of "narration in measured terms." Features of the compositional form. The idea of ​​direct use of a historical document and the principle of working with it ("newspaper montages"). Types of narration in the "Red Wheel". The symbolic meaning of the title of the epic. The syncretic nature of the artistic world created by the writer.

Traditions of educational prose in the cycle "Two-part stories" (1990s). Implementation of the ethical code of A.I. Solzhenitsyn. The transition of the ethical principle into the political realm. The writer's commitment to a realistic manner.

Autobiographical prose of A.I. Solzhenitsyn: “A grain fell between two millstones. Essays on Exile" (1978, 1998, 2001), "A Calf Butted an Oak" (1996). Language search A.I. Solzhenitsyn "Russian Dictionary of Language Extension" (1995).

The main ideas of the writer's journalism. Articles “Live not by lies” (1974), “How can we equip Russia” (1990), the book "Russia in a collapse" (1998). The Russian-Jewish question in the book "Two Hundred Years Together" (2003).

18. LECTURE. LITERARY EMIGRATION IN THE 1960-1990S (THIRD WAVE)

Causes of the third wave of emigration. The question of the literary identity of the writers of the third wave. Ideological, thematic, genre relatedness of the literature of the "diaspora" and "metropolis". The main features of émigré literature. The saturation and impetuosity of the literary process of the Russian diaspora, the boom of periodicals, the intensive search for new artistic solutions. The main directions in prose: "traditional realism" and "grotesque and absurdity".

Continuation and renewal of the realistic traditions of the XIX century. in the prose of G.N. Vladimov (1931-2003). "The Tale of the Guard Dog" "Faithful Ruslan" (1969). Traditions L.N. Tolstoy in the novel "The General and His Army" (1994).

Religious and philosophical orientation of F.N. Gorenstein (1932-2002). Traditions F.M. Dostoevsky in the story "Atonement" (1967), the novels "Psalm" (1975) and "Place" (1969-1977). The novel-parable "Psalm" as a philosophical understanding of the historical path of the country.

Philosophical and religious novels by V.E. Maksimova (1930-1995). Chronicle novel "Seven Days of Creation" (1971). The problem of the meaning of life and showing the mechanism of the creation of the human soul. composition features. Christian concept of being.

Genre of dystopia in the prose of the third wave. "Sociological novel" "Yawning heights" (1976) A.A. Zinoviev (1922-2005) in the context of M.E. Saltykov-Shchedrin "History of one city". "Island of Crimea" (1981) V.P. Aksenova (b. 1932) as a synthesis of utopia and dystopia. The parody-game beginning in the novel "Moscow 2042" (1987) by V.N. Voinovich (b. 1932). Showing the absurdity of the communist doctrine.

“Pseudo-documentary” prose by S.D. Dovlatov (1941-1990). The combination of autobiography and fiction in his stories. their genre nature. Books "Compromise" (1981), "Zone" (1982), "Reserve" (1983), "Craft" (1984), "Suitcase" (1986). The originality of the author's manner of writing and the tradition of anecdote.

19. LECTURE. MAIN TRENDS IN THE DEVELOPMENT OF REALISTIC PROSE IN THE 1990S - THE BEGINNING OF THE XXI CENTURY

Change of ethical and aesthetic values ​​in the public mind in the late 1980s. The question of the "crisis of realism" and the enrichment of realistic principles. Continuation of the main traditions of Russian classical realism in the prose of the late XX - early XXI century. The difference between postmodern realism and classical Russian realism.

The main trends in realistic prose of the late XX - early XXI century. "Traditional" (neoclassical) prose, religious prose, conventionally metaphorical prose, "other" (alternative) prose. Stylistic differentiation within each of them.

Strengthening the generic features of Russian realism in the "traditional" realistic prose. Neopochvennichestvo, its origins and causes. Artistic and journalistic and philosophical direction. Forms of the relationship between the author and the hero in realistic prose. Strengthening the existential principle. The interaction of different stylistic principles in the works of "traditional" prose. Content, emotional tone, stylistic and genre features realistic prose of the late XX - early XXI century.

Strengthening the influence of documentary and journalistic genres on fiction. Modern village theme in the prose of B.P. Ekimov (b. 1938). The problems of the story "Pinochet" (1999). The image of Korytin Jr. as a key character of the transition period. The story-parable "Visit" (1989) L.I. Borodin as a phenomenon of religious prose.

The study of the Russian national character in the story "Aluminum Sun" (1999) E.I. Nosov (1925-2002). The originality of the problems, composition and language of the work.

New literary "intra-realistic" currents. “Symbolic (sentimental realism) in A.N. Varlamov (b. 1963) "Birth" (1995). The military theme in the novel by A.A. Prokhanov (b. 1938) "Chechen Blues" (1998). Conspiracy novel "Mr. Hexogen" (2002). The combination of documentary, mystical motifs, symbols and metaphors is the main typological feature of A.A. Prokhanov.

20. LECTURE. EXISTENTIAL PSYCHOLOGICAL PROSE IN RUSSIAN LITERATURE OF THE END OF XX - BEGINNING OF XXI CENTURY

Existential principles of perception of reality in modern Russian prose. Works by V.S. Makanina, O.N. Ermakova, A.N. Kurchatkina, A.I. Prosekin. The development of Tolstoy's tradition of "dialectics of the soul" in the new conditions.

The problem of "an extra person" in the novel by V.S. Makanin "Underground, or a Hero of Our Time" (1998). Recreation of the existential confrontation between the hostel and the individual. Traditions of "urban" prose. Expanding the range of post-realism. Synthesis of intellectualism and techniques of "black" naturalism. The intertextual nature of the work.

21. LECTURE. CONDITIONAL METAPHORICAL PROSE IN RUSSIAN LITERATURE OF THE END OF XX - BEGINNING OF XXI CENTURY

Conditional-metaphorical trend in Russian realistic prose of the second half of the 20th century. The novels Violist Danilov (1981) and Pharmacist (1988) by V.V. Orlov, novels "Living Water" (1980) V.N. Krupin, "Rabbits and boas" (1973, 1986) F.A. Iskander. The image of the absurdity and alogism of real life.

The main genre and style features of conventionally metaphorical prose. Fairy tale, mythological and fantastic types of conventionality. The use of plot-compositional structures of a parable, parabola, legend, grotesque. Social and philosophical direction in conditionally metaphorical prose.

Features of the social type of conditionally metaphorical prose in the fairy tale story by F.A. Iskander "Rabbits and boas" (1973, 1986) and stories by V.M. Rybakov "Not in time" (1988). Appeal to the genre of dystopia: "Defector" (1989) A.A. Kabakov, "New Robinsons" (1989) L.S. Petrushevskaya, "Notes of an extremist" (1989) A.N. Kurchatkina, "Ceremonial uniform of Malevich's brush" (1992) A.S. Borodyn. The problems and system of characters in the story-dystopia "The New Robinsons" (1989) L.S. Petrushevskaya (b. 1938).

22. LECTURE. "OTHER PROSE" AND ITS TRANSFORMATIONS IN THE 1990S

The problem-thematic specificity of "other prose": automated consciousness in the stagnant circle of existence, dark "corners" of social life, the image of modern man through the cultural layers of past eras or through the prism of history. Common features"other prose": opposition to officialdom, fundamental refusal to follow the established literary stereotypes, avoidance of ideological bias, external indifference to the ideal. Rejection of teaching and preaching. Absurdity and irony as necessary elements of "other prose".

Stylistic tendencies of "other prose". "Historical" and "natural" line in the existential flow of "other prose". History in the "fantastic narrative" "Captain Dickstein" (1988) M.N. Kuraev.

Specific features of the "natural" line of "other prose": a detailed depiction of the negative aspects of life, an interest in the "bottom" of society. Actualization of some methods of the natural school. The works of S.E. Kaledin "Humble Cemetery" (1987) and "Stroybat" (1989), "Odlyan, or Air of Freedom" (1989) L.A. Gabysheva and others.

The problems and system of characters in the story "My Circle" (1988) and the story "Time is Night" (1991) L.S. Petrushevskaya.

23. LECTURE. MODERNISM IN RUSSIAN LITERATURE OF THE END OF XX - BEGINNING OF XXI CENTURY

Actualization of modernist and avant-garde principles in Russian prose in the last third of the 20th century. Interaction of the principles of modernism and postmodernism. Aesthetic principles of modernism. Image of the life of consciousness and subconscious spheres of the human psyche, the chaos and absurdity of the world. The extra-social nature of modernism and the nature of its influence on the transformation of realistic prose. The difference between Russian modernism and European. The combination in modernism of the principles of symbolism, existentialism, surrealism, neorealism. Associative and intentional trends in the modernist paradigm of Russian prose.

Orientation to the myth in Russian modernism. The problem of freedom, immortality and the meaning of existence in the novel by A.A. Kim (b. 1939) "The Island of Iona" (2001). Logocentric model of the universe and the influence of postmodern aesthetics.

Yu.V. Mamleev (b. 1931) as a theorist and practitioner of metaphysical realism. Combining realist and modernist principles in his novel The Wandering Time (2000). The unity of the motive of death in the prose of Yu.V. Mamleev. Typology of characters in "Wandering Time". Russian idea in the novel.

The associative trend of modernism in the novel by Sasha Sokolov (A.V. Sokolova, b. 1943) "School for Fools" (1973). The role of epigraphs. The problem of the personal individuality of the hero. Structure of time and space. Features of the language and style of the work.

24. LECTURE. POSTMODERNISM IN RUSSIAN LITERATURE OF THE END OF XX - BEGINNING OF XXI CENTURY

Postmodernism as an artistic system and as a Russian phenomenon. His stylistic trends. The connection of postmodernism with the processes of interaction between socialist realist literature and the avant-garde, everyday writing realism and existential prose. The role of ironic realism. The specifics of building the image of the world in postmodernism. The art of social realism as a breeding ground for Russian postmodernism. The nature of narrative in postmodern prose. Features of the postmodern text and the reception of polystylistics. The nature of the relationship between the author and the text. Stylistic polyphonism of Vik's prose. Vl. Erofeeva, E.A. Popova, D.E. Galkovsky, Yu.V. Buydy and others. The process of language games, demonstrativeness, outrageousness in Russian postmodernism. The fundamental "secondary" postmodernism.

Poem by V.V. Erofeev "Moscow - Petushki" (1969) as a parent text of Russian postmodernism. Features of the plot and genre of the work. Appeal to the traditions of the ironic-heroic poem of the XVIII century. and ancient Russian hagiographic literature. A contamination of ironic realism and modernism. A paradoxical embodiment of the author's principle. Holy foolishness and its place in the poem. Biblical motives. The manifestation of the defining features of postmodernism and the symbolic context of the poem.

The main features of V.O. Pelevin (b. 1962): elements of postmodernism, the use of fantasy, references to various philosophical systems. Prose V.O. Pelevin in the context of the avant-garde trend. "Generation "P"" (1999) as a pamphlet novel. Understanding the socio-political processes in Russia at the end of the 20th century. Grotesque and peculiarity of the author's position. The ambiguity of the novel's title.

25. ON ONE'S OWN. RUSSIAN DRAMATURGY OF THE END OF THE XX - THE BEGINNING OF THE XXI CENTURY (1 point)

Test questions

1. The main stages and trends in the development of modern Russian drama. "New Wave" (L.S. Petrushevskaya, V.K. Arro, A.M. Galin, E.S. Radzinsky and others) and "the latest drama" (N.N. Sadur, N.V. Kolyada, E. A. Gremina, O. I. Mikhailova, E. V. Grishkovets, M. Yu. Ugarov, etc.).

2. Renewal of classical traditions and creative experiment in the plays of contemporary playwrights. Documentary drama as a new direction in modern literature for the stage.

3. The specificity of worldview in the dramaturgy of N.N. Sadur. Genre synthesis in the play "Wonderful Woman" (1983). Disputes about the meaning of human life in the play "Go!" (1984). “Pannochka” (1985-1986) is a lyrical and philosophical fantasy based on the novel by N.V. Gogol "Viy". Features of the interpretation of the plot. Or:

4. Dramaturgy N.V. Carols. The marginal world, heroes, time and space in the plays "Go away, go away", "Murlin Murlo", "The Seagull Sang", "Slingshot", "Viennese Chair", etc. Conditional devices and their functions. Author's presence. Linguistic and genre features of N.V. Carols.

Gromova M.I. Russian drama of the late XX - early XXI century: Textbook. - 2nd ed., Rev. – M.: Flinta: Nauka, 2006. S. 77-363.

Leiderman N.L., Lipovetsky M.N. Modern Russian Literature: In 3 books: Textbook. M.: Editorial URSS, 2001. Book. 3. S. 71-73, 86-95.

Russian literature of the twentieth century: Textbook for students. higher ped. textbook institutions: In 2 volumes. Ed. L.P. Krementsov. M.: Publishing Center "Academy", 2002. T. 2. S. 425-434.

26. ON ONE'S OWN. VARIETY OF CREATIVE METHODS IN RUSSIAN POETRY OF THE END OF THE XX - EARLY XXI CENTURY (general review and in-depth characterization of the work of one of the poets of your choice - 1 point)

Test questions

1. The complexity of the existence and development of Russian poetry in the late XX - early XXI centuries. Plurality of creative groups and styles. Intensity of artistic searches.

2. Poetic journalism V.N. Kornilov.

3. The tragedy of world perception and comprehension of the depths of the human spirit in the poems of B.A. Akhmadulina.

4. Democracy of the artistic position in the work of O.G. Chukhontsev.

5. Independence of the creative view of modernity in the poetry of G.Ya. Gorbovsky.

6. The intensity of aesthetic searches in the lyrics of I.N. Tyulenev (b. 1953).

7. The main currents of the poetic avant-garde and postmodernism since the 1990s. to the present and the trends of their creative evolution.

8. Aesthetic foundations of creativity of poets-“meta-metaphorists” K.A. Kedrova, A.M. Parshchikova, A.V. Eremenko: the principle of complex associativity, a reflection of the inconsistency of modern life, the subjectivity of the artistic worldview, surrealism, stylistic experiments. The originality of the use of cultural and historical experience.

9. "Metarealism" of I.F. Zhdanova, O.A. Sedakova, V.B. Krivulina and others.

10. The specificity of the experimental poetry of the "conceptualists" D.A. Prigov, T.Yu. Kibirov and "courtly mannerists" (V.I. Pelenyagre, A.V. Dobrynina, V.A. Kulle, K.A. Grigorieva, etc.)

11. Ironist poet V.P. Vishnevsky (b. 1953).

12. The development of Russian rock poetry (I.V. Talkov, A.N. Bashlachev, I.V. Kormiltsev, V.R. Tsoi and others). Creativity B.B. Grebenshchikov in the context of modern poetry and song culture.

Bibliography

Balabanova I. Dmitry Alexandrovich Prigov is speaking. M.: O.G.I., 2001.

Bondarenko V.G. Live dangerously. M.: Publishing House "Threshold", 2006. S. 183-212, 533-552.

Zaitsev V.A., Gerasimenko A.P.. History of Russian literature of the second half of the twentieth century: Textbook. M.: Higher school, 2004. S. 384-420.

Kaznacheev S.M. Modern Russian Poets: Etudes: Textbook. Moscow: Institute of Business and Politics, 2006.

Kedrov K.A. poetic space. Moscow: Soviet writer, 1989.

Leiderman N.L., Lipovetsky M.N. Modern Russian Literature: In 3 books: Textbook. M.: Editorial URSS, 2001. Book. 3. S. 13-42.

Mineralov Yu.I. History of Russian literature: 90s of the XX century: Proc. allowance for students. higher textbook establishments. M.: Humanitarian publishing center VLADOS, 2002. S. 153-206.

Russian literature of the twentieth century: Textbook for students. higher ped. textbook institutions: In 2 volumes. Ed. L.P. Krementsov. M.: Publishing Center "Academy", 2002. T. 2. S. 386-392.

Bondarenko V.G. Island of insights by Olga Sedakova // friendship of Peoples. 2006.

No. 4. S. 193-207.

Ragoza K. The art of slowing down: [O. Sedakova] // New Literary Review. 2002. No. 56. S. 316-318.

Slavyansky N. From full to the bottom to deep to the brim // New world. 1995. No. 10. S. 224-231.

Viktor Krivulin. July 9, 1944 - March 17, 2001 // New Literary Review. 2001. No. 52. S. 229-270.

Ivanov B.I. Viktor Krivulin - Poet of the Russian Renaissance (1944-2001) // New Literary Review. 2004. No. 68. S. 270-285.

Lebedushkina O. The part of space that is occupied by God…: [V. Krivulin] // Friendship of Peoples. 2002. No. 5. S. 182-199.

Karpov V.A. Partisan of the full moon: Notes on the poetry of B. Grebenshchikov // Russian literature. 1995. No. 4. S. 79-84.

Nichiporov I. Motifs of song poetry by Igor Talkov // Literary study. 2003. No. 1. S. 134-149.

Polischuk D. On the transcendental wind; Rodnyanskaya I. The Chukhontsev era is on fire // New world. 2004. No. 6. S. 159-172.

Skvortsov A. Energy of self-growth: (On the poetry of Oleg Chukhontsev) // Banner. 2006. No. 6. S. 178-184.

Falikov I. 872 lines: [Oh. Chukhontsev] // Banner. 2004. No. 11. S. 208-212.

Lekmanov O. Timur Kibirov through the eyes of a man of my generation // New world. 2006. No. 9. S. 174-177.

Kostyukov A. Normal poet: [T. Kibirov] // friendship of Peoples. 2006. № 6.

Kovaldzhi K. Face to face - not enemies: [K.A. Kedrov] // Youth. 1992. № 1.

Nikonychev Yu. “Go where your free mind leads you…”: [K.A. Kedrov] // Book review. 1995. No. 8. February 21. P. 10.

Poetry Timur Kibirov // Literary Review. 1998. No. 1. S. 4-43.

Letaev A. Mosaic of star shards: [V. Choi] // book review. 2001.

Solozhenkina S. Temple of Broken Hearts: [V. Choi] // Literary Review. 1992. No. 3/4. pp. 63-65.

Troitsky A. One of us: Oh creative way poet A. Bashlachev // Light. 1989. No. 20. S. 19-21.

Frolova G. In the poetic world of Alexander Bashlachev // Neva. 1992. № 2.

Lecture for the seminar

"Modern Literary Process in Russia: Main Trends"

Over a thousand-year history (from the 11th to the 20th century inclusive), Russian literature has come a long and difficult path. Periods of prosperity were replaced in it by times of decline, rapid development - stagnation. But even in times of recession caused by historical and socio-political circumstances, Russian literature continued its forward movement, which eventually led it to the heights of world verbal art.
Russian literature strikes with the amazing richness of its content. There was not a single question, not a single problem of any importance connected with all aspects of the life of Russia, which our great word artists would not touch upon in their works. At the same time, much of what they wrote about concerned life not only in our country, but throughout the world.
For all their comprehensiveness and depth of content, the works of the great figures of Russian literature were understandable and accessible. wide circles readers, which once again testified to their greatness. Getting acquainted with the greatest creations of Russian literature, we find in them much that is consonant with our restless time. They help us comprehend what is happening in modern reality, better understand ourselves, realize our place in the world around us and preserve human dignity.
The modern literary process deserves special attention for a number of reasons: firstly, the literature of the late 20th century summed up the artistic and aesthetic searches of the entire century in a peculiar way; secondly, the latest literature helps to understand the complexity and debatability of our reality; thirdly, with her experiments and artistic discoveries, she outlines the prospects for the development of literature in the 21st century.
Literature of the transitional period is a time of questions, not answers, this is a period of genre transformations, this is a time of searching for a new Word. “In many ways, we, the children of the turn of the century, are incomprehensible, we are neither the “end” of a century, nor the “beginning” of a new one, but the struggle of centuries in the soul; we are the scissors between the centuries." The words of Andrei Bely, spoken more than a hundred years ago, can be repeated today by almost everyone.
Tatyana Tolstaya defined the specifics of today's literature: “The 20th century is a time lived looking back through grandparents and parents. This is part of my worldview: there is no future, the present is just a mathematical line, the only reality is the past... The memory of the past is some kind of visible and tangible series. And since it is more visible and tangible, a person begins to be drawn into the past, just as others are sometimes drawn into the future. And sometimes I get the feeling that I want to go back to the past, because this is the future.
“Happy is the one who overcame the boundaries of the centuries, who happened to live in the neighboring centuries. Why: yes, because it’s like rattling off two lives, and even if you spent one life in Saransk, and celebrated the other on the Solomon Islands, or sang and skipped one, and spent the other in prison, or in one life you were a fireman, and in another leader of the rebellion, ”the writer Vyacheslav Pietsukh writes ironically.
Booker Prize winner Mark Kharitonov wrote: “A monstrous, amazing age! When now, under the curtain, you try to take a look at it, it captures the spirit of how much diversity, greatness, events, violent deaths, inventions, catastrophes, ideas it contains. These hundred years are comparable in density and scale of events to millennia; the speed and intensity of the changes grew exponentially... Cautiously, without vouching for anything, we look beyond the new limit. What opportunities, what hopes, what threats! And how much more unpredictable!” .
Modern literature is often called "transitional"- from the strictly unified censored Soviet literature to the existence of literature in completely different conditions of freedom of speech, changing the role of the writer and reader. Therefore, frequent comparison with the literary process is justified and Silver Age, and the 20s: after all, then new coordinates of the movement of literature were also groped. Victor Astafiev expressed the idea: “Modern literature, based on the traditions of great Russian literature, begins anew. She, like the people, is given freedom ... Writers are painfully looking for this path.
One of the brightest features of modernity is the polyphony of the latest literature, the absence of a single method, a single style, a single leader. The well-known critic A. Genis believes that “the modern literary process cannot be considered as one-linear, one-level. Literary styles and genres obviously do not follow each other, but exist simultaneously. There is no trace of the former hierarchy of the literary system. Everything exists at once and develops in different directions.
The space of modern literature is very colorful. Literature is created by people of different generations: those who existed in the depths of Soviet literature, those who worked in the literary underground, those who started writing quite recently. Representatives of these generations have a fundamentally different attitude to the word, to its functioning in the text.
- Sixties writers(E. Evtushenko, A. Voznesensky, V. Aksyonov, V. Voinovich, V. Astafiev and others) broke into literature during the thaw of the 1960s and, having felt a short-term freedom of speech, became symbols of their time. Later, their fates turned out differently, but interest in their work remained constant. Today they are recognized classics of modern literature, distinguished by the intonation of ironic nostalgia and commitment to the memoir genre. Critic M. Remizova writes about this generation as follows: “ characteristic features this generation is served by a certain sullenness and, oddly enough, some kind of languid relaxation, conducive more to contemplation than to active action and even an insignificant deed. Their rhythm is moderato. Their thought is reflection. Their spirit is irony. Their cry - but they do not cry ... ".
- Writers of the 70s Generation- S. Dovlatov, I. Brodsky, V. Erofeev, A. Bitov, V. Makanin, L. Petrushevskaya. V. Tokareva, S. Sokolov, D. Prigov and others. They worked in conditions of creative lack of freedom. The writer of the seventies, unlike the sixties, connected his ideas about personal freedom with independence from official creative and social structures. One of the prominent representatives of the generation, Viktor Erofeev, wrote about the peculiarities of the handwriting of these writers: “From the mid-70s, an era of unprecedented doubts began not only in a new person, but in a person in general ... literature began to doubt everything without exception: in love, children , faith, church, culture, beauty, nobility, motherhood, folk wisdom ... ". It is this generation that begins to master postmodernism, the poem by Venedikt Erofeev "Moscow - Petushki" appears in samizdat, the novels by Sasha Sokolov "School for Fools" and Andrei Bitov " Pushkin House”, the fiction of the Strugatsky brothers and the prose of the Russian Diaspora.
- FROM "perestroika" more burst into literature one large and bright generation of writers- V. Pelevin, T. Tolstaya, L. Ulitskaya, V. Sorokin, A. Slapovsky, V. Tuchkov, O. Slavnikova, M. Paley and others. experiment." The prose of S. Kaledin, O. Ermakov, L. Gabyshev, A. Terekhov, Yu. Mamleev, V. Erofeev, the stories of V. Astafiev and L. Petrushevskaya touched on previously forbidden topics of army “hazing”, the horrors of prison, the life of homeless people, prostitution, alcoholism, poverty, the struggle for physical survival. “This prose revived interest in the “little man”, in the “humiliated and offended” - motives that form the tradition of an exalted attitude to the people and people's suffering that goes back to the 19th century. However, unlike the literature of the 19th century, the “chernukha” of the late 1980s showed people's world as a concentration of social horror, taken for the everyday norm. This prose expressed a feeling of total trouble modern life... ”, - write N.L. Leiderman and M.N. Lipovetsky.
- IN late 1990s appears another generation of very young writers- A. Utkin, A. Gosteva, P. Krusanov, A. Gelasimov, E. Sadur and others), about whom Viktor Erofeev says: “Young writers are the first generation of free people in the history of Russia, without state and internal censorship, singing random promotional songs under their breath. The new literature does not believe in "happy" social change and moral pathos, unlike the liberal literature of the 1960s. She was tired of endless disappointment in man and the world, the analysis of evil (underground literature of the 70s and 80s).”
First decade XXI century and - so diverse, polyphonic, that one and the same writer can hear extremely opposite opinions. So, for example, Alexey Ivanov, the author of the novels The Geographer Drank His Globe Away, Dormitory-on-the-Blood, The Heart of Parma, and The Gold of Riot, was named the brightest writer who appeared in Russian literature of the 21st century in the Book Review. . And here is what the writer Anna Kozlova expresses her opinion about Ivanov: “Ivanov's picture of the world is a section of the road that a chained dog sees from his booth. This is a world in which nothing can be changed and all that remains is to joke about a glass of vodka in full confidence that the meaning of life has just been revealed to you in all the unsightly details. In Ivanov, I do not like his desire to be light and glossy ... Although I must admit that he is an extremely gifted author. And I found my reader.
Z. Prilepin is the leader of the protest literature.
D. Bykov. M. Tarkovsky, S. Shargunov, A. Rubanov
D. Rubina, M. Stepnova and others.

Mass and elite literature
One of the features of our time is the transition from a monoculture to a multidimensional culture containing an infinite number of subcultures.
In popular literature, there are strict genre-thematic canons, which are formal-content models of prose works, which are built according to a certain plot scheme and have a common theme, an established set actors and types of heroes.
Genre-thematic varieties of mass literature- detective, thriller, thriller, melodrama, science fiction, fantasy, etc. These works are characterized by ease of assimilation, which does not require a special literary and artistic taste of aesthetic perception, accessibility to different ages and segments of the population, regardless of their education. Mass literature, as a rule, quickly loses its relevance, goes out of fashion, it is not intended for re-reading, storage in home libraries. It is no coincidence that already in the 19th century, detective stories, adventure novels and melodramas were called "carriage fiction", "railway reading", "disposable literature".
The fundamental difference between mass and elite literature lies in different aesthetics: mass literature is based on the aesthetics of the trivial, ordinary, stereotypical, while elite literature is based on the aesthetics of the unique. If mass literature lives on the basis of established plot clichés and clichés, then an artistic experiment becomes an important component of elite literature. If the author's point of view is absolutely unimportant for popular literature, then a pronounced author's position becomes a distinctive feature of elite literature. An important function of mass literature is the creation of such a cultural subtext, in which any artistic idea is stereotyped, turns out to be trivial in its content and in the way of consumption, appeals to subconscious human instincts, creates a certain type of aesthetic perception, which perceives even the serious phenomena of literature in a simplified form.
T. Tolstaya in her essay “Merchants and Artists” speaks of the need for fiction as follows: “Fiction is a wonderful, necessary, sought-after part of literature, fulfilling a social order, serving not seraphim, but simpler creatures, with peristalsis and metabolism, i.e. us with you - is urgently needed by society for its own public health. It’s not all the same to flirt around the boutiques - I want to go to the shop, buy a bun.
The literary fates of some modern writers demonstrate the process of narrowing the gap between the elite and mass literature. So, for example, on the border of these literatures is the work of Victoria Tokareva and Mikhail Veller, Alexei Slapovsky and Vladimir Tuchkov, Valery Zalotukha and Anton Utkin, writers of interesting and bright, but working on the use of art forms mass literature.

Literature and PR
The writer today is faced with the need to fight for his reader, using PR technologies. “If I don’t read, if you don’t read, if he doesn’t read, then who will read us?” - the critic V. Novikov ironically asks. The writer tries to get closer to his reader, for this various creative meetings, lectures, presentations of new books in bookstores are organized.
V. Novikov writes: “If we take the nomen (in Latin, “name”) as a unit of literary fame, then we can say that this fame consists of many millinomens, oral and written references, names. Every time we say the words "Solzhenitsyn", "Brodsky", "Okudzhava", "Vysotsky" or say, for example: Petrushevskaya, Pietsukh, Prigov, Pelevin, we participate in the creation and maintenance of fame and popularity. If we do not pronounce someone's name, we consciously or unconsciously slow down someone's progress on the ladder of public success. Intelligent professionals learn this from the very first steps and cold-bloodedly appreciate the very fact of naming, nomination, regardless of evaluation marks, realizing that the worst thing is silence, which, like radiation, kills imperceptibly.
Tatyana Tolstaya sees the writer's new position in this way: “Now readers have fallen off like leeches from the writer and have given him the opportunity to be in a situation of complete freedom. And those who still ascribe to the writer the role of a prophet in Russia are the most extreme conservatives. In the new situation, the role of the writer has changed. Previously, this workhorse was ridden by everyone who could, now she herself must go and offer her working hands and feet. Critics P. Weil and A. Genis accurately defined the transition from the traditional role of "teacher" to the role of "indifferent chronicler" as "zero degree of writing." S. Kostyrko believes that the writer found himself in an unusual role for the Russian literary tradition: “Today's writers seem to find it easier. Nobody demands ideological service from them. They are free to choose their own model of creative behavior. But, at the same time, this freedom also complicated their tasks, depriving them of obvious points of application of forces. Each of them is left face to face with existential issues - Love, Fear, Death, Time. And it is necessary to work at the level of this problem.”

The main directions of modern prose
Modern literature in its development is determined by the action of several laws: the law of evolution, the law of explosion (jump), the law of consensus (internal unity).
Law of evolution is realized in the assimilation of the traditions of previous national and world literatures, in the enrichment and development of their tendencies, in stylistic interactions within a certain system. Thus, neoclassical (traditional) prose is genetically linked to Russian classical realism and, developing its traditions, acquires new qualities. The “memory” of sentimentalism and romanticism gives rise to such stylistic formations as sentimental realism (A. Varlamov, L. Ulitskaya, M. Vishnevetskaya and others), romantic sentimentalism (I. Mitrofanov, E. Sazanovich).
Explosion law is revealed in a sharp change in the correlation of styles in synchronous artistic systems of literature. Moreover, interacting with each other, the artistic systems themselves give unexpected stylistic currents. The interaction of realism and modernism creates post-realism. Avant-garde as a pragmatically directed branch of modernism and realism in its socialist realist variant results in a tendentious course - sots art(stories by V. Sorokin, "Palisandria" by Sasha Sokolov, "Park" by Z. Gareev). Avant-garde and classical realism generate conceptualism(“The Eye of God” and “The Soul of a Patriot” by E. Popov, “Letter to Mother”, “Pocket Apocalypse” by Vik. Erofeev). A very interesting phenomenon is happening - the interaction of different stylistic trends and different artistic systems contributes to the formation of a new artistic system - postmodernism. Speaking about the genesis of postmodernism, this moment is overlooked, denying any tradition and its connection with previous literature.
The interaction and genetic connection of different stylistic trends within certain artistic systems, the interaction of artistic systems with each other confirms the internal unity (consensus) of Russian literature, the metastyle of which is realism.
Thus, it is difficult to classify the directions of modern prose, but the first attempts already exist.
neoclassical line in modern prose, he addresses the social and ethical problems of life, based on the realistic tradition of Russian literature with its preaching and teaching role. These are works that are openly journalistic in nature, gravitate toward philosophical and psychological prose (V. Astafiev, B. Vasiliev, V. Rasputin, and others).
For representatives conditionally metaphorical direction modern prose, on the contrary, is not characterized by a psychological depiction of the character of the hero; writers (V. Orlov, A. Kim, V. Krupin, V. Makanin, L. Petrushevskaya and others) see their origins in the ironic youth prose of the 60s, therefore build the artistic world on various types of conventions (fabulous, fantastic, mythological).
The world of socially shifted circumstances and characters, external indifference to any ideal and an ironic rethinking of cultural traditions are characteristic of the so-called "another prose". The works united by this rather conditional name are very different: this is both the natural prose of S. Kaledin, L. Gabyshev, which goes back to the genre of physiological essay, and the ironic avant-garde playful in its poetics (Evg. Popov, V. Erofeev, V. Pietsukh, A. Korolev and others).
Most literary controversy is caused by postmodernism, perceiving foreign languages, cultures, signs, quotes as his own, building a new artistic world from them (V. Pelevin, T. Tolstaya, V. Narbikova, V. Sorokin, etc.). Postmodernism is trying to exist in the conditions of the "end of literature", when nothing new can be written, when the plot, word, image are doomed to repetition. Therefore, intertextuality becomes a characteristic feature of postmodern literature. In such works, the attentive reader constantly encounters quotations, images of classical literature of the 19th and 20th centuries.

Modern women's prose
Another striking feature of the modern literary process is ironically designated by V. Erofeev: “In Russian literature, the age of women is opening. There are many balloons and smiles in the sky. The landing party is down. A large number of women are flying. Everything was - it was not. The people are amazed. Paratroopers. Authors and heroines are flying. Everyone wants to write about women. The women themselves want to write.”
Women's prose actively declared itself back in the late 80s of the XX century, when such bright and different writers as L. Petrushevskaya, T. Tolstaya, V. Narbikova, L. Ulitskaya, V. Tokareva, O. Slavnikov, D. Rubin, G. Shcherbakov and others.
V. Tokareva, through the mouth of her heroine, the writer from the novel “The Bodyguard,” says: “The questions are about the same for both Russian and Western journalists. The first question is about women's literature, as if there is also men's literature. Bunin has lines: "Women are like people and live near people." So and women's literature. It is like literature and exists beside literature. But I know that it is not gender that matters in literature, but the degree of sincerity and talent ... I am ready to say: "Yes." There is women's literature. A man in his work focuses on God. And a woman to a man. A woman ascends to God through a man, through love. But, as a rule, the object of love does not correspond to the ideal. And then the woman suffers and writes about it. The main theme of women's creativity is longing for the ideal.

Modern poetry
M.A. Chernyak admits that “outside the window” we have a very “non-poetic time. And if the turn of the XIX-XX centuries, the "Silver Age", was often called the "age of poetry", then the turn of the XX-XXI centuries is the "prose time". However, one cannot but agree with the poet and journalist L. Rubinstein, who noted that “poetry definitely exists, if only because it simply cannot be. You can not read it, you can ignore it. But it is, because culture, language has an instinct for self-preservation…”.

It is obvious that the latest literature is complex and diverse. “Modern literature is not a story about modernity, but a conversation with contemporaries, new production major questions about life. It arises as the energy of its time only, but what is seen and lived is not vision and not life. It is knowledge, spiritual experience. New self-awareness. A new spiritual state,” says 2002 Booker Prize winner Oleg Pavlov.
Literature has always lived its own era. She breathes it, she, like an echo, reproduces it. Our time and us will be judged by our literature too.
“The interlocutor - that's who I need in the new century - not in gold, not in silver, but in the current one, when life has become more important than literature,” the voice of a modern writer is heard. Are we not the interlocutors he is waiting for?

List of used literature:

1. Nefagina, G.L. Russian prose of the late XX century / G.L. Nefagin. - M.: Flinta: Nauka, 2003. - 320 p.
2. Prilepin, Z. Name day of the heart: conversations with Russian literature / Z. Prilepin. - M.: AST: Astrel, 2009. - 412 p.
3. Prilepin, Z. Bookchet: a guide to latest literature with lyrical and sarcastic digressions / Z. Prilepin. - M.: Astrel, 2012. - 444 p.
4. Chernyak, M.A. Modern Russian Literature: Textbook / M.A. Chernyak. - St. Petersburg, Moscow: SAGA, FORUM, 2008. - 336 p.
5. Chuprinin, S. Russian Literature Today: Great Guide / S. Chuprinin. - M.: Time, 2007. - 576 p.

Comp.:
Degtyareva O.V.,
head of MBO
MBUK VR "Intersettlement Central Library"
2015

The face of Russia is especially individual,

for it is receptive not only to someone else's, but also to one's own.

D. Likhachev

The development of modern Russian literature is a lively and rapidly developing process, each work of art in which is part of a rapidly changing picture. At the same time, in literature, artistic worlds are being created, marked by a bright individuality, determined both by the energy of artistic creativity and by a variety of aesthetic principles.

Modern Russian literature- this is literature that appeared in our country in Russian, from the second half of the 80s to the present. It clearly shows the processes that determined its development in the 80s, 90-900s and the so-called "zero", i.e. after 2000.

Following the chronology, in the development of modern literature, such periods as the literature of 1980-90, the literature of 1990-2000 and the literature after 2000 can be distinguished.

1980-90s years will go down in the history of Russian literature as a period of change in aesthetic, ideological, moral paradigms. At the same time, there was a complete change in the cultural code, there was a total change in literature itself, the role of the writer, the type of reader (N. Ivanova).

The last decade since 2000 ., the so-called "zero" years, became the focus of many general dynamic trends: the results of the century were summed up, the opposition of cultures intensified, there was an increase in new qualities in various fields of art. In particular, there have been trends in literature related to the rethinking of the literary heritage.

Not all trends occurring in the current literature can be accurately identified, as many processes continue to change over time. Of course, much of what happens in it often has polar opinions among literary critics.

In connection with the change of aesthetic, ideological, moral paradigms that occurred in 1980-900s years, radically changed views on the role of literature in society. Russia XIX and XX centuries was a literary-centric country: literature took on numerous functions, including reflecting the philosophical search for the meaning of life, shaping the worldview and carrying out an educational function, while remaining fiction. At present, literature does not play the role that it played before. There was a separation of literature from the state, the political relevance of modern Russian literature was minimized.

The development of the modern literary process was greatly influenced by the aesthetic ideas of Russian philosophers of the Silver Age. Ideas of carnivalization in art and the role of dialogue. M.M., Bakhtin, a new wave of interest to Yu. Lotman, Averintsev, psychoanalytic, existentialist, phenomenological, hermeneutic theories had a great influence on artistic practice and literary criticism. In the late 80s, texts by philosophers K. Svasyan, V. Malakhov, M. Ryklin, V. Makhlin, philologists S. Zenkin, M. Epstein, A. Etkind, T. Venidiktova, critics and theorists K. Kobrin, V. Kuritsyn were published , A. Skidana.

Russian classics due to the transformation of assessment criteria (as it happens in the era of global change) has been reassessed. In criticism and literature, attempts were repeatedly made to debunk idols, the role of their works, and their entire literary heritage was questioned.

Often, following the trend started by V.V. Nabokov in the novel "The Gift", in which he debunked and caustically ridiculed the recent rulers of the minds of N.G. Chernyshevsky and N.A. Dobrolyubov, contemporary authors continue it in relation to the entire classical heritage. Often in modern literature, the appeal to classical literature has a parodic character, both in relation to the author and in relation to the work (pastish). So, B. Akunin in the play "The Seagull" ironically beats the plot of Chekhov's play. (intertextemes)

At the same time, along with the execution attitude towards Russian literature and its heritage, attempts are being made to protect it. Of course, the classical heritage, inscribed in the chronological space between A. Pushkin and A. Chekhov, still remains a source from which modern literature draws images, plots, often playing with stable mythologems. Continue to develop best traditions Russian literature writers - realists.

Writers are realists

The 1990s put realism to a serious test, encroaching on its dominant position, although realist traditions continue to be developed by Sergei Zalygin, Fazil Iskander, Alexander Solzhenitsyn, Viktor Astafiev, Valentin Rasputin, Vladimir Krupin, Vladimir Voinovich, Vladimir Makanin, Daniil Granin, A. Azolsky, B. Ekimov, V. Lichutin. The work of these writers developed under different conditions: some lived and worked in foreign countries (A. Solzhenitsyn, V. Voinovich, V. Aksyonov), while others lived without a break in Russia. Therefore, the analysis of their creativity is considered in different chapters of this work.

A special place in literature belongs to writers who turn to the spiritual and moral origins of the human soul. Among them are the works of V. Rasputin, belonging to the confessional literature, V. Astafiev, a writer endowed with the gift of addressing the most topical moments of our time.

The national-soil tradition of the 1960s and 70s, which is associated with the work of village writers V. Shukshin, V. Rasputin, V. Belov, continued in modern literature Vladimir Lichutin, Evgeny Popov, B. Ekimov.

However, writers - realists they are looking for ways to update poetics, trying to understand the diversity of relations between man and the world. Continuing and developing the traditions of great Russian literature, the writers of this trend explore the socio-psychological and moral problems of our time. They still continue to worry about such problems as the relationship between man and time, man and society. In a dysfunctional world, they are looking for the foundation that could withstand chaos. They do not deny the existence of the meaning of being, but raise the question of what reality is, what makes human life meaningful.

In literary criticism, the concept of "other prose", "new wave", "alternative literature" appeared, which denote the works of authors, whose works appeared in the early 80s, these writers, exposing the myth of a man - a transformer, the creator of his happiness, show, that man is a grain of sand thrown into the whirlpool of history.

The creators of the "other prose" depict the world of socially shifted characters, against the backdrop of rough and cruel reality, the idea is understood. Since the author's position is disguised, an illusion of transcendence is created. To a certain extent, it breaks the chain "author - reader". The works of "other prose" are gloomy, pessimistic. It distinguishes three currents: historical, natural and ironic avant-garde.

The natural trend "genetically" goes back to the genre of physiological essay with its frank and detailed depiction of the negative aspects of life, interest in the "bottom of society".

The artistic development of the world by writers often takes place under the slogan postmodernism: the world is chaos. These trends, characterized by the inclusion of the aesthetics of postmodernism, are denoted by the terms: "new realism", or "neorealism", "transmetarealism". Under the close attention of writers - neorealists is the soul of man, and the cross-cutting theme of Russian literature, the theme of the "little" man in their work acquires special meaning, since it is no less complex and mysterious than the global changes of the era. Works are considered under the sign of new realism A. Varlamov, Ruslan Kireev, Mikhail Varfolomeev, Leonid Borodin, Boris Ekimov.

It is an indisputable fact that Russian literature has been noticeably enriched by the creative activity of Russian women writers. The works of Lyudmila Petrushevskaya, Lyudmila Ulitskaya, Marina Paley, Olga Slavnikova, Tatyana Tolstaya, Dina Rubina, V. Tokareva often find themselves in the zone of attraction to the traditions of Russian literature, and they noticeably influence the aesthetics of the Silver Age. In the works of women writers, a voice is heard in defense of eternal values, kindness, beauty, mercy is glorified. Each writer has her own handwriting, her own worldview. And the heroes of their works live in this world, full of tragic trials, often ugly world, but the light of faith in man and his imperishable essence resurrect traditions of great literature brings their works closer to the best examples of Russian literature.

Gogol's poetics, which reflected the grotesque-fantastic line, i.e. dual world, illuminated by the sun of Divine Providence, was continued in Russian literature of the XX century in the work of M.A. Bulgakov. successor mystical realism in modern literature, critics rightly consider Vladimir Orlov.

In the 1980s, with the beginning of perestroika, fundamental principle which glasnost was declared, and the warming of relations with the West, a stream of “returned literature” poured into literature, the most important part of which was foreign literature. The field of Russian literature has absorbed islands and continents of Russian literature scattered all over the world. Emigration of the first, second and third waves created such centers of Russian emigration as "Russian Berlin", "Russian Paris", "Russian Prague", "Russian America", "Russian East". These were writers who continued to work creatively away from their homeland.

The term Literature Abroad- this is a whole continent that domestic readers, critics, and literary critics had to master. First of all, it was necessary to resolve the issue of whether Russian literature and literature abroad are one or two literatures. That is, the literature of Abroad is a closed system or is it “a stream of all-Russian literature temporarily diverted to the side, which - the time will come - will merge into the general channel of this literature” (G.P. Struve).

The discussion that unfolded on this issue on the pages of the journal "Foreign Literature", in " Literary newspaper revealed opposing points of view. Famous writer Sasha Sokolov believed that there was no system, but a number of divided writers. S. Dovlatov had a different opinion, who noted: “Russian literature is one and indivisible, since our native language remains one and indivisible ... Strictly speaking, each of us lives not in Moscow or New York, but in language and in history.”

The Russian reader has access to the works of Russian writers whose works were published abroad. Starting with creativity V. Nabokov, A. Solzhenitsyn, B. Pasternak, the reader has the opportunity to get acquainted with the work of a whole galaxy of talented writers: V. Voinovich, S. Dovlatov, V. Aksenov, E Limonov. and others (chapter 4) Domestic literature was enriched by the return of "hidden literature" rejected by Soviet censorship. The novels of Platonov, the dystopia of E. Zamyatin, the novels of M. Bulgakov, B. Pasternak. "Doctor Zhivago", A. Akhmatova "Poem without a hero", "Requiem".

If in the 80-90s there was a development of this vast continent, called literature of the Russian Diaspora or "literature of the Russian diaspora" with its unique aesthetics, then in subsequent years (“zero years”) one can observe the influence of the literature of Abroad on the literature of the metropolis.

The full rehabilitation of the banned authors went hand in hand with the publication of their texts. This was most often underground literature. Such trends that were outside the official literature and were considered underground were reanimated, and they were published by Samizdat: these are postmodernism, surrealism, metarealism, sots art, conceptualism. This is the "Lianozovsky" circle ....

According to V. Erofeev, “the new Russian literature has doubted everything without exception: love, children, faith, church, culture, beauty, nobility, motherhood. Her skepticism is a double reaction to this Russian reality and the excessive moralism of Russian culture," therefore, the features of "saving cynicism" (Dovlatov) are visible in it.

Russian literature acquired self-sufficiency, freeing itself from the role of a constituent element of the Soviet ideology. On the one hand, the exhaustion of traditional types of artistry led to the rejection of such a principle as a reflection of reality; on the other hand, according to A. Nemzer, literature was of a “compensatory nature”, it was necessary to “catch up, return, eliminate gaps, fit into the world context”. The search for new forms corresponding to the new reality, the assimilation of the lessons of émigré writers, the assimilation of the experience of world literature has led domestic literature to postmodernism.

Postmodernism in Russian literature, he emerged from the literary underground as an already established aesthetic trend.

But by the end of the 1990s, the ongoing experiments in neo-liberal politics and neo-modernist ones in literature turned out to be virtually exhausted. Lost confidence in the Western market model, there was an alienation of the masses from politics, overflowing with colorful images, slogans that were not backed by real political power. Parallel to the emergence of multiple parties, there was a multiplication of literary groups and groups. Neoliberal experiments in politics and economics were matched by an interest in neomodernist experiments in literature.

Literary critics note that in the literary process, along with the activity of postmodernism, such trends as avant-garde and post-avant-garde, modern and surrealism, impressionism, neo-sentimentalism, metarealism, social art, conceptualism are manifested. The rating of readers' interests put postmodern creativity in the first place.

The creator of postmodern poetics Vik. Erofeev wrote: “Modern literature has doubted everything without exception: love, children, faith, church, culture, beauty, nobility, motherhood, folk wisdom.” Neo-modernist literature was oriented towards the West: towards the Slavites, towards grant-givers, towards the Russian writers settled in the West, this to a certain extent contributed to the rejection of literature with texts - phantoms, texts - simulacra and that part of literature that tried to fit into a new context through performance activity ( D Prigov). (performance - performance)

Literature has ceased to be a mouthpiece of social ideas and an educator human souls. Places goodies occupied by murderers, alcoholics. etc. Stagnation turned into permissiveness, the teaching mission of literature was washed away by this wave.

In contemporary literature we can find pathology and violence, as evidenced by the titles of Wik's works. Erofeeva: "Life with an Idiot", "Confessions of Icrofol", "Suspended Orgasm of the Century". We find saving cynicism in the works of S. Dovlatov, virtuoso lawlessness in E. Limonov, "darkness" in her various options(Petrushevskaya. Valeria Narbikova, Nina Sadur).

skaz- a form of epic narration based on imitation of the speech manner of a character isolated from the author - the narrator; lexically, syntactically, intonationally oriented to oral speech.

Literature of the second millennium

The 1990s were "the consolation of philosophy," the "zero" years were "the consolation of literature."

According to a number of critics (Abdullaev), the "zero" are brewing somewhere in the years 98-99, and this is associated with such political events as the August 1998 crisis, the bombing of Belgrade, the explosions in Moscow, which became the watershed that served as the beginning of " neoconservative turn”, after which many events of subsequent generations can be considered.

The situation in the twenty-first century is characterized by the fact that in politics there is a transition from the neo-liberal model to the neo-conservative one. with building a "vertical of power", restoring Moscow's connection with the regions. In literature, there is a disappearance of new groups, currents, associations, blurring of boundaries between existing ones. The number of authors from the regions is increasing, which is explained by fatigue from the Moscow text, and on the other hand, by the emergence of new poetic forces in the outback, which have escaped from the provincial ghetto. In literature, there is an increase in civic motives in poetry, “the politicization of the prose of the “zero” - with its military theme, dystopias, and “new realism” (Abdullaev.182).

The concept of the world in art gives rise to a new concept of personality. A kind of social behavior as indifference, behind which lies the fear of where humanity is going. The ordinary man, his fate and his "tragic sense of life" (de Unamuno) replaces the traditional hero. Together with the tragic, laughter enters the sphere of human life. According to A.M. Zverev "in literature there was an expansion of the field of the ridiculous." The unprecedented rapprochement between the tragic and the comic is perceived as a spirit of the times.

For the novels of the "zero" character "the line of subjectization", the writer writes not from the point of view of the whole, but starts from the whole (Maria Remizova). According to Natalia Ivanova, in modern literature, "texts are replaced by a public position."

Genre forms

Modern literature is characterized by a surge in the development and interest of readers in the detective genre. Retro-plotted detective stories by B. Akunin, ironic detective stories by D. Dontsova, psychological detective stories by Marinina are an integral part of modern literature.

The many-valued reality resists the desire to embody it in a one-dimensional genre structure. genre system preserves the "memory of the genre" and the will of the author is correlated with a wide range of possibilities. We can call transformations changes in the structure of a genre, when one or more elements of the genre mode turn out to be less stable.

As a result of the combination of several genre models, synthetic genres arise: a novel - a fairy tale ("The Squirrel" by A. Kim), a story-essay ("Watching the Secrets, or the Last Knight of the Rose" by L. Bezhin), a novel - a mystery ("Picking mushrooms to the music of Bach" A. Kim), novel - life ("Fool" by S. Vasilenko), novel - chronicle ("The Case of My Father" by K. Ikramov), novel - parable ("Father - Forest" by A. Kim).

Modern dramaturgy

In the second half of the 20th century, dramaturgy, which gravitates towards social problems, was replaced by dramaturgy, which tends to solve eternal, enduring truths. Pre-perestroika dramaturgy was called “post-vampilovskaya”, as the playwrights, through the testing of the hero by everyday life, signaled trouble in society. Dogs appeared whose heroes were people of the “bottom”. Topics that were previously closed for discussion were raised.

After perestroika, the themes of dramatic works changed. Conflicts have become tougher, more irreconcilable, they lack any morality. The composition is plotless and sometimes illogical; the lack of a logical connection between the compositional elements, and even absurdism. To express the new aesthetics, new language means were required. The language of modern dramaturgy has become more metaphorical, on the one hand, on the other hand, it gravitates towards the spoken language.

A whole stage in the development of dramaturgy is associated with creativity. L. Petrushevskaya (1938). As a playwright, she performed in the 70s. She was a member of the studio of the famous playwright A. Arbuzov. According to her confession, she began to write rather late, her artistic focus was the dramaturgy of A. Vampilov. Already in the 80s, her dramaturgy was called "post-Vampilian". He revives the traditions of critical romanticism in Russian dramaturgy, combining them with the traditions of play literature, using elements of the absurd. He is drawn to the genre of a skit, an anecdote.

Written in the early 80s, the play "Three Girls in Blue" became a cultural event. She is a paraphrase of Chekhov's play Three Sisters. The action takes place in the late 1970s at a dacha outside Moscow, which is rented by three second cousins. The dacha is dilapidated, without any malice, with cracks in the floor. Sisters quarrel, children get sick, and a mother lives in Moscow, who saws her daughters. In the center is the fate of Irina, who leaves her son Pavlik to his mother, and goes south with a married gentleman. And then endless trials fall on the heroine. The wife and daughter came to the groom, and he gives Irina a resignation. From Moscow she receives news that her mother is ill herself. terrible disease. Irina has no money to leave the south, she does not want to ask her former lover. "Anxiety in the clean air of the resort" brings to mind Dostoevsky. Like his heroines, Irina went through the journey to repentance and purification.

Petrushevskaya questioned the inviolability of the foundations, which were declared as universally recognized and it seemed that life rests on their inviolability. Petrushevskaya shows her heroes as people forced to deal with difficult issues related to survival. Often her characters exist in a dysfunctional social environment. And the heroes themselves are subject to strange, unmotivated actions, and they commit their misdeeds as if in unconsciousness, obeying internal impulses. The hero of the play Date (1992) is a young man who, in a fit of rage, killed five people. Punishment follows from the outside: he was put in prison, but in the play there is neither self-punishment nor self-condemnation. She creates one-act plays What to Do? (1993), Twenty-Five Again (1993), Men's Zone (1994).

In the play "Men's Zone" Petrushevskaya unfolds the metaphor of the zone, which appears as a camp zone, that is, isolation from the whole world, where there can be no freedom. Hitler and Einstein are here, Beethoven is here. But these are not real people, but images of famous people that exist as stereotypes of mass consciousness. All images of famous characters correlate with Shakespeare's tragedy "Romeo and Juliet", a performance in which the characters will take part. Moreover, even female roles are played by men, which gives the play a comic effect.

Dramaturgy Alexandra Galina (1937) tends to philosophical reflection life and filled with reflections on the place of man in this world. His artistic manner is far from a harsh assessment of a person. Galin is the author of the plays "Wall", "Hole", "Stars in the Morning Sky", "Tamada", "Czech Photo". The author does not denounce, but rather sympathizes with the heroes living in a world where love, happiness, success cannot take place. For example, in the play "The Czech Photo" not only the author's compassion is aroused by the hero - the loser Lev Zudin, who spent his youth in prison for publishing a bold photograph in a magazine. He believes that not everything in life is a lie, "for the sake of something we live." A. Galin is far from condemning the successful photographer Pavel Razdorsky, who, frightened of the responsibility for the published bold photo of the actress, fled from Saratov to Moscow. The name "Czech Photo" is not only the name of the magazine, which published a bold photo of the actress Svetlana Kushakova at that time, but also a symbol of youth, friendship, love, professional success and defeat.

Dramatic works Nina Sadur (1950) imbued with a “not gloomy, but rather tragic” worldview” (A. Solntseva). A student of the famous Russian playwright Viktor Rozov, she entered dramaturgy in 1982 with the play “Wonderful Woman”, later she wrote the song “Pannochka”, in which the plot of the story “Viy is interpreted in her own way.

Artworks Nikolai Vladimirovich Kolyada (1957) excite

theater world. The reason, according to the researcher of the work of N. Kolyada N. Leiderman, is that "the playwright is trying to get to the bottom of those conflicts that shake this world." He is the author of such plays as "Murlin Murlo", "Slingshot", "Sherochka with a Masherochka", "Oginsky's Polonaise", "Persian Lilac", "Ship of Fools".

In a play "Boater"(1992) the author again refers to the conflict between generations, but his view is far from traditional. If close people love, respect, there is mutual understanding between them, then any contradictions can be overcome. The playwright returns to the original meaning of the word "generation". Generations are the tribes of the human race, the joints of a single whole, growing out of each other, passing the baton of life”. It is no coincidence that the theme of death occupies a significant place in the play. Death is everywhere. It's very difficult to deal with it." And this war can be won only by uniting father and son. Therefore, the words of B. Okudzhava "let's join hands, friends, so as not to disappear one by one." Victor, step-father of eighteen-year-old Alexander, his son ex-wife, he is from a generation of idealists, he is a connoisseur of good books, performances. For him, the blessings of life never became the determining factor in his life. Alexander rebels against the generation of his fathers and accuses them of obedience, of being ready to accept any lie and deceit. “Thieves. Demagogues. You can't breathe because of you. You have turned the world into hell." For Victor, it is not Alexander's accusations that are important, but his state of mind. Guilt gives rise to anxiety for the young man, and the wall of alienation begins to crumble. Mutual understanding begins to be established between the stepfather and the embittered young man. And it turns out that they are spiritually kindred people. The author raises the question of which relationship is more important. Alexander from his own mother returns to the house, where he found a person internally close to him.

Plays Evgeny Grishkovets (1967) called "provocative". In his plays, the characters speak the language that burns those who come to the theater. They are filled with humour. For the play "How I Ate a Dog" he received two theater awards.

Thus, modern dramaturgy creates new models of the artistic depiction of reality, excluding any morality and is looking for new means to depict the complex contradictory world and the person in it.

Modern poetry

Modern essay writing

genre essay(French. attempt, trial, experience, essay), so called prose work small volume, free composition, expressing individual impressions and considerations on any occasion. The thoughts expressed do not claim to be an exhaustive interpretation. This is one of the genres of literature that has been developing for more than four hundred years. The beginning of this genre was laid by the French humanist philosopher Michel Montaigne, although the origins of the genre are already seen in ancient and medieval texts, for example, Plato's Dialogues, Plutarch's Morals. Samples of the essayistic style can be found in Russian literature, for example, “Philosophical Letters of P.Ya. Chaadaeva, F.M. Dostoevsky's Diary of a Writer.

In the 20th century, essay writing goes beyond the boundaries of one genre, capturing all kinds and genres of literature, attracting different writers; A. Sozhenitsyn, V. Pietsukh, P. Weil addressed her. and etc.

Essayism still denotes an experience based on a person's ability to introspection. The characteristic features of essayism are the freedom of composition, which is a montage of various material, built by association. Historical events may be presented in disorder, descriptions may include general reasoning, they are subjective assessments and facts of personal life experience. This construction reflects the freedom of mental drawing. The boundary between essayism and other genres is blurred. M. Epstein noted: “This genre, which is held by its principled out-of-genre. As soon as he gains complete frankness, sincerity of intimate outpourings, he turns into a confession or a diary. It is worth getting carried away by the logic of reasoning, the process of generating thoughts - we have an article or a treatise in front of us, it is worth falling into a narrative manner, depicting events that develop according to the laws of the plot - and a short story, a story, a story involuntarily arises ”[Epshtein M. God of details: Essays 1977-1988. - M: Edition of R. Elinin, 1998.- C 23].

There are three main components of the modern literary process: the literature of the Russian diaspora; "returned" literature; actual modern literature. It is not possible at this stage to give a clear and concise definition of the last named element of the artistic system. Trying to classify the huge body of works of literature of the turn of the century according to ideological and structural features, researchers use terms such as neorealism, postmodernism, other prose, natural philosophy, military prose, etc.
Without delving into the controversial points of theoretical concepts, we will try to identify the main features of modern literary reality. An important feature of the turn of the century, we will call the presence of a huge number of literary texts. The development of the network of printing and mass media makes it possible to publish at any time and to anyone. An important role is also played by virtual publications, where literature acquires new characteristics - mobility, online real-time mode. In this connection, the view on the very understanding of creativity, on the approach to the profession of a writer is changing - a large percentage of writers today do not have certain professional skills, special education.
The second significant feature that determines the development of the modern literary process is the change in the classical model of the “writer-reader” relationship, which was influenced not least by socio-political events. Russian literature has always developed against the backdrop of social processes and has been influenced by the political, philosophical and aesthetic views of the time. Social events were immediately reflected in the literary and publicistic speeches of employees of various periodicals, formed the reader's environment, and determined the tendencies of the literary process of a particular era. If we assume that modern literature itself appears in perestroika times (approximately from the end of the 1980s), then its development begins in the so-called era of glasnost, when freedom of speech and thought became available.
The collapse of a strong state in the 1990s, a new style life, "ideological" off-road lead to a defocused view of the reader, including the professional. There is another innovation - those who continue to read do it very quickly, fluently; they don’t analyze, they don’t think, but they look through, estimate. In an effort to meet such needs, literature itself gives rise to the new kind letters, just assuming speed reading "diagonally".
The system of literary relations is completely changed. Authors begin to lose contact with their potential reader, “literature for itself” appears, which completely ignores the classical function of art - to influence the minds and souls of people. In this connection, there are opinions about the "dying" of literature as such, about the death of the reader, author, hero.
The last named features are associated, first of all, with the artistic texts of the postmodern era. But against the backdrop of postmodern tendencies, “classical, traditional” literature continues to exist: neorealists, postrealists, and traditionalists not only continue to write, but also actively fight against the “pseudo-literature” of postmodernity. It can be said that the entire literary community has been divided into those who are “for” and those who are “against” new trends, and literature itself has become an arena for the struggle of two huge blocs - traditionalist writers (they are guided by the classical understanding of artistic creativity), and postmodernists (holding radically opposite views). This struggle influences both the ideological content and the formal levels of the emerging works.
Table 1 lists the categories of a literary text as they are perceived by neorealist and postmodern writers, which reflects important trends in the contemporary artistic process.
The main problematic of the prose of realist writers is moral and philosophical. In the center of their attention are the problems of the moral degradation of a person, the growth of lack of spirituality in modern society, questions about the meaning of life, ethical ideals, etc.
These moments are the main ones in the so-called village prose, which defends the right of literature to be an educator of human souls, develops its didactic and moralizing functions. Therefore, the role of the journalistic principle in the works of V. Rasputin, V. Astafiev, B. Ekimov and others is strong.
Writers focus on problems small homeland, strive to instill in the reader a high patriotic feeling; prose develops questions of activating historical memory. As L.A. Trubina: "It was not only about the need to learn lessons from our history, but also about the preservation and assimilation of all the best from the spiritual experience of generations, developed by the people over the millennia." The ideological and thematic complex also contributes to the emergence of a special type of hero (see paragraph 2)
2. Along with rural prose, in the modern artistic process, the work of writers, who are ranked as natural-philosophical currents, stands apart (works by A. Kim, Ch. Aitmatov, etc.). The peculiarity of this rather large layer of literature is that it addresses problems of a large-scale nature - universal catastrophes, nuclear explosions, intergalactic relationships, and so on. In prose with “planetary thinking”, questions of the relationship between man and nature (nature is considered as the basis of human existence), ontological problems sound dramatically sharp.
According to A.I. Smirnova, "only in natural-philosophical prose does it (the theme of nature) outgrow the framework of the problem-thematic level, turning into a concept of reality, comprehended only in the entire form-content integrity of the work." The image of reality that postmodernists create in their works is largely determined by the general ideological guidelines of a new broad general cultural concept that emerged at the end of the last century, covering philosophy, art, and literature.
According to I.P. Ilyin, "first of all, postmodernism acts as a characteristic of a certain mentality, a specific way of world perception, attitude and assessment of both the cognitive capabilities of a person, and his place and role in the world around him" .
“The postmodern mindset bears the stamp of disappointment in the ideals and values ​​of the Renaissance and the Enlightenment with their belief in progress, the triumph of reason, the limitlessness of human possibilities. Common to various national variants of postmodernism can be considered its identification with the name of "tired", "entropic" culture, marked by eschatological moods, aesthetic mutations, diffusion of great styles, eclectic mixing of artistic languages. The texts of postmodernists are filled with feelings of the tragedy of existence, the all-pervading absurdity of life, its labyrinth. As O.V. Bogdanov, “the reality of postmodernists is illogical and chaotic. It balances the high and the low, the true and the false, the perfect and the ugly. It does not have stable outlines, it is devoid of a fulcrum. The reality is tragic and catastrophic. Absurdity is all-pervading." Chaos and the meaninglessness of existence are the main themes of postmodernist prose. The turn of the writer's interest "from the soul to the body" is also characteristic. For example, N.N. Kyakshto speaks of a kind of "post-modern corporality". “Russian postmodernism has returned corporality to literature in its physiological, sometimes monstrous, plane. Emphasizing the interest in pathological deformities, in the "morbid corporeality of consciousness", postmodernists write about the deformation of the flesh, its dismemberment and destruction, about pain as a manifestation of sexuality and eroticism ... ".