Literary fairy tale in the works of L.S. Petrushevskaya Mekhralieva, Gulnara Ashrafovna

Petrushevskaya Ludmila

Lyudmila Stefanovna Petrushevskaya

One painter faithfully painted walls, roofs and fences all his life and became a very famous and rich master. He stopped talking to ordinary people, did not greet anyone, but every morning he went with his paints and brushes to the yard to the rich man, the owner of the city.

True, people said that earlier this painter was a kind person and even once saved a spider that was drowning in a bucket of paint. But a lot of time has passed since then, and the painter has changed a lot, became stern, was silent all the time and talked only to his daughter.

And the only thing people respected him for was that he was a really good house painter. He painted the houses red, blue, and green, and made the fences checkered and polka-dotted. His roofs turned out to be golden, and because of this, the whole city sparkled and shimmered in the sun.

But still, the painter was not loved because he went every morning to the fat rich man. Why he walks - no one knew, they invented all sorts of reasons, and one person even said that he saw through the fence how the house painter was painting the rich man with pink paint. And the oldest old man in the city replied that, of course, anyone can tell everything that comes into his head, but no one has ever heard of a person being painted with paint - after all, everyone knows that if a person is painted, he will suffocate and will die.

So no one knew the truth, but we will find out. Once, when the painter was about to leave the rich man's palace, the rich man said to him:

Wait. I know you are a great master. In our dilapidated, old town, you brought such beauty that everyone thinks that this is a beautiful new city. Everyone has become very satisfied with their lives and are glad that they live in such beautiful houses, although the houses will fall apart at the first hurricane.

painter said:

My job is to paint. Someone's business is to build houses, someone's business is to destroy houses, and my business is to paint. I do my job honestly. If everyone works honestly, each in his own place, as I do, then nothing bad will remain in the world. But I'm not going to teach everyone: you work badly, and you don't work at all. It's none of my business. This is someone else's business. My business is to paint, and I love this business, but I do not pay attention to everything else.

Do you care what to paint? - asked the rich man.

It doesn't matter, - answered the painter, - even you, even the moon, even an oak cabinet. I will paint any thing so that it shines.

Listen, said the rich man. This city belongs to me. I bought it a long time ago.

I don't care, replied the painter. - You bought it, and I live in it and paint it. Buying cities is none of my business.

Yes, said the rich man, this city is mine. You painted it well, it's nice to live in it. But I know how old this little town is. It will fall apart soon. So before this city falls apart, I want to sell it. It will be very easy to sell it, because it is beautiful. However, I will ask you to do one job.

I love to work, - said the master.

You see, - continued the rich man, - I want to sell the city to one cannibal. This cannibal is very fond of golden apples. He simply cannot live without golden apples.

What do I have to do with it? asked the painter. - Growing apples is not my business.

I want to ask you, - said the rich man, - to paint all the leaves on all the trees in the city with gold paint. This is very difficult work. But then I will tell the cannibal that all the trees in my town have golden apples. Since the leaves are golden, then the apples will be golden. And he will believe.

painter said:

But this is a very difficult job - to paint each leaf with gold paint.

I know that this is a difficult job, - the rich man answered, - and that only you can do this work in the whole world. But I'll make it easier for you - I have a tank of gold paint. You will simply stand under a tree and, like a janitor, water the leaves from a hose with golden paint.

How is the janitor? - asked the painter. This job doesn't suit me. Any person can do such work for you, and I am a great master.

Well, well, well, - said the rich man. - You don't even need a hose. Color each leaf separately. You will do so beautifully, so beautifully, everything will just shine. And we will deceive the cannibal!

It's not my business to deceive the cannibal, - said the painter. - It's my job to paint.

The next morning the painter set to work. He sat at the top of the tree and painted one leaf after another.

Stupid work, - the inhabitants said to each other, - the leaves will suffocate under a layer of paint and dry up.

However, the painter did not hear them and continued to patiently paint the leaves. But when he reached the lower branches, painted leaves began to fall one after another from above.

The owner, - the painter said to the rich man, - the leaves are falling. My work will be lost.

What are you, - the rich man shouted, - these leaves just thought that autumn had come. Now I will send workers and they will glue all the leaves back.

And so the work went on: the painter painted, the leaves fell, the workers caught them and glued them back.

And when the painter finished painting the first tree, and the workers finished gluing the leaves, the rich man shouted:

Very beautiful! Just like a real golden apple tree! You are simply the best painter in the world!

At this time, the wind blew, and the leaves gnashed like tin.

Here! Do you hear? exclaimed the rich man. - They ring like real gold!

And the painter answered him:

If I work, then you can be calm: the job will be done as it should.

The next day, when the painter approached the next tree, the rich man stopped him and said:

For now, one golden tree is enough. I found out that the cannibal loves golden people much more than golden apples. Understand? You need to choose the most beautiful girl in the city - at least your daughter, so that she, painted with gold paint, meets the cannibal. Then he will definitely buy my city!

You can't paint people," said the painter. - People are not fences.

How is it impossible? shouted the rich man. - Why are you telling me stories? Don't you come to see me every morning, huh?

That's you, - said the painter, lowering his head.

Ah, is that how you spoke? - asked the rich man. - Now I will call my servants, and they themselves will paint your daughter in gold. And they will not paint it with a soft brush, but simply pour gold paint from a hose. It will be rough work, but I don't care anymore. We must hurry.

Then the painter said:

OK. I will color my daughter. I will color my daughter - not with a soft brush, but straight from the hose. I will do this tomorrow. Just warn all the inhabitants of the city that they do not leave their houses tomorrow, and you do not go out - otherwise I might accidentally pour gold paint on someone. And the cannibal loves golden people.

Agreed! - said the rich man and went to his palace.

Analysis of the story "Hygiene"

Let us turn to the story of Petrushevskaya "Hygiene".

What are your impressions after reading the story?

(Students' statements are written down in the form of phrases or short sentences on a blackboard or sheet of drawing paper or placed on a slide; the entries are drawn up in a table, the first column of which will be the primary impressions after reading the story, and the second is filled in after analyzing the story.)

Etrushevskaya "Hygiene".

When reading the story, the gloomy, oppressive atmosphere, the expectation of death, strikes. The hearts of the heroes are filled with fear.

What do family members do to save themselves from infection?

(The only salvation, according to the young man, is strict hygiene and the absence of mice that carry the disease. And therefore, everyone seeks to protect themselves: “Nikolai took off everything and threw it into the garbage chute, he rubbed cologne from head to toe in the hallway, all the fleece threw it out the window in a bag"; "... undressed on the stairs, threw clothes into the garbage chute and wiped himself naked with cologne. Having wiped the sole, he stepped into the apartment, then wiped the other sole, threw the fleece down in a piece of paper. He put the backpack to boil in the tank ... ".

Holding the cat in her arms, the girl reports that the cat ate the bloated mouse "and kissed, probably not for the first time, the cat's filthy muzzle." Grandfather, cursing, locks her in the nursery “for quarantine” (“Grandfather followed her and sprayed all her traces with cologne from a spray bottle. Then he locked the door to the nursery on a chair ...”). Although adults try to feed and control her, they doom her daughter and granddaughter to death. Before us is the complete degradation of the human personality.)

Doesn't this atmosphere remind you of that oppressive and crushing picture painted by one of the Russian classics?

This question was investigated by a group of analysts. They are given the floor.

The image of Dostoevsky's Petersburg, created by him in Crime and Punishment, appears in the mind. As in any postmodernist work, in Petrushevskaya's story for double coding the fourth dream of Raskolnikov is guessed.

He [Raskolnikov] lay in the hospital for the entire end of Lent and the Holy One. Already recovering, he remembered his dreams when he was still lying in a fever and delirium. In his illness, he dreamed that the whole world was condemned to the sacrifice of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe. All were to perish, except for a few, very few, chosen ones. Some new trichines appeared, microscopic creatures that inhabited the bodies of people. But these beings were spirits endowed with mind and will. People who took them into themselves immediately became demon-possessed and crazy. But never, never did people consider themselves as smart and unshakable in the truth as the infected thought. They never considered their judgments, their scientific conclusions, their moral convictions and beliefs more unshakable. Entire villages, entire cities and nations were infected and went mad. Everyone was in anxiety and did not understand each other, everyone thought that the truth was in him alone, and he was tormented, looking at others, he beat his chest, wept and wringed his hands. They did not know whom and how to judge, they could not agree what to consider evil, what good. They didn't know who to blame, who to justify. People were killing each other in some senseless malice. Whole armies gathered at each other, but the armies, already on the march, suddenly began to torment themselves, the ranks were upset, the soldiers rushed at each other, stabbed and cut, bit and ate each other. In the cities, the alarm was sounded all day: everyone was summoned, but no one knew who was calling and for what, and everyone was in alarm. They left the most ordinary crafts, because everyone offered his thoughts, his own amendments, and could not agree; agriculture stopped. In some places, people ran into heaps, agreed to do something together, swore not to part, but immediately began something completely different from what they themselves immediately assumed, began to accuse each other, fought and cut themselves. Fires started, hunger began. Everyone and everything died. The ulcer grew and moved further and further. Only a few people could be saved all over the world, they were pure and chosen, destined to start a new kind of people and a new life, renew and cleanse the earth, but no one saw these people anywhere, no one heard their words and voices.

Raskolnikov was tormented by the fact that this senseless delirium echoes so sadly and so painfully in his memoirs that the impression of these feverish dreams does not pass for so long.

The story describes some unknown disease that struck the city in a matter of days, the consequences of which are unpredictable. (“... an epidemic of a viral disease has begun in the city, from which death occurs in three days, and a person is blown up and so on ...”).

The characters are exaggerated. (“…Nikolai ate a lot, including bread…”; “…for breakfast alone he ate half a kilo of sushki…”; “…Immediately, on the street, over my backpack I ate barley porridge concentrate, I wanted to try and, on you, everything ate…”)

The heroes of the work are lonely, no one cares about them, even the state has left them. ("Everyone was waiting for something to happen, someone to announce mobilization, but on the third night the engines roared in the streets, and the army left the city"). It is obvious that the young man who offered help will not be able to help everyone. (“Why did the young man come so late? Yes, because he had a lot of apartments on the site, four huge houses.”)

These features are characteristic of the literature of postmodernism.

Intertextuality one type of repetition. risteva: "any text is built as a mosaic of quotes, it is the absorption and transformation of other texts" . Many prose writers and playwrights use intertext when creating remakes.

Petrushevskaya's story intertextual : an unknown viral illness in Petrushevskaya and a "pestilence" in Dostoevsky; with Petrushevskaya, only a few remain alive who have acquired immunity; with Dostoevsky, only a select few survive. In both cases, there is a kind of purification of the world. The reality created in Petrushevskaya's story is doomed, because, according to Dostoevsky, "there can be no harmony in the world if at least one tear of a child is shed", and "Hygiene" is not about tears, but about the life of a girl.

What is the ending of Petrushevskaya's story?

(“... in R.’s apartment all the knocks have already subsided ...” “... however, the cat kept meowing ...”, “the young man, having heard the only living voice in the whole entrance, where, by the way, all the knocks and screams had already subsided, decided to fight at least for one life, brought an iron crowbar ... and broke the door. " Black heaps remained of all the inhabitants in the house, behind the cracked door was a girl "with a bald skull of a bright red color, exactly the same as that of a young man", a cat was sitting next to her and they both gazed at the young man.

In a world that has lost spiritual values, the naturalness and spontaneity inherent in animals, and unspoiled children's morality, remained untouched. Let's hope they have a future.

The cat is black - endowed with paranormal abilities.

A white cat is a bright beginning, radiant.

Illness in the form of a symbolic image of death with a scythe (yellow) - because Dostoevsky's yellow color is predominant, the color of spiritual poverty; in this case - the color of grief, misfortune, anger.

Figures of a girl and a young man (pink) - pink is the color of rebirth, morning, new.

Black abstract figures - symbolize the dead physically and spiritually.

Stairs (steps) - the way up, to the revival (and also, in fact, a man with bags went up the stairs, wanting to help the residents of the city).

The moon is yellow, round - a symbol of the unreality of what is happening, the deadness and evil of the surrounding world; circle - a hopeless situation.

A shiny knife is a symbol of evil and death.

5. Analysis of the novel "The Master and Margarita" - group work

- the founder of postmodernism. This means that his heroes are also postmodern heroes.

6. Writing syncwine - individual work

7. Summing up, homework

Today we made an attempt to analyze Petrushevskaya's story "Hygiene". We examined not only the superficial content structure, but also looked much deeper, drawing a parallel with classical Russian literature, which is the basis for all subsequent literature.

Do the world and the people depicted in the story "Hygiene" have the right to exist, or should they disappear from the face of the earth, as a natural stage of evolution? Can we guess in these people you and I, our world? Each of you formed your own opinion about what Petrushevskaya wanted to tell us. This is the main feature of the literature of postmodernism.

“Postmodernism,” as V. Erofeev wrote, “is a transition to a state when the reader becomes a free interpreter and when the writer does not hit him on the hands and say: “you read incorrectly, read differently” - this is the moment of release, and in this sense postmodernism today is the achievement of freedom in literature.

Yashina Anna, student of grade 7 B, MBOU "Gymnasium No. 90" of the Soviet district of Kazan

The word "fairy tale" in its modern sense appeared only in the 17th century. Before that, they said "tale" or "fable" (from the word "buyat" - to tell). A fairy tale is a very popular genre of oral folk art. The fairy tale differs from other epic genres of folklore in its more developed aesthetic side. The aesthetic principle is manifested in the idealization of positive characters, in a vivid image of the "fantastic world", in the romantic coloring of events, in the presence of a special chronotope. V. Dal in his "Explanatory Dictionary of the Living Great Russian Language" gives the following definition of a fairy tale: "A fairy tale is a fictional story, an unprecedented and even unrealizable story, a legend." A special place in fiction is occupied by a literary fairy tale, which has received the greatest development since the 19th century. The literary tale of the twentieth century, relying in its development on the folk tale, nevertheless, differs from it, absorbs the signs of a difficult and tragic time. The Russian fairy tale of the twentieth century begins to develop in the 1920s and 1930s. XX century (Yu. Olesha, A. Tolstoy, V. Kataev, N. Nosov, L. Lagin and many others). L. Petrushevskaya occupies a worthy place among Russian storytellers. Of course, the writer most clearly showed herself in dramaturgy and prose. At the same time, her fairy tales are a special artistic world that requires its own researcher.

Download:

Preview:

MBOU "Gymnasium No. 90" of the Soviet district of Kazan

"Intelligence. Career".

Section: Russian philology

The artistic world of L.S. Petrushevskaya

Yashina Anna,

student of grade 7 B MBOU "Gymnasium No. 90"

Sovetsky district of Kazan.

Scientific adviser: Troshina N.Ya.,

teacher of Russian language and literature

highest qualification category

Kazan 2015

Introduction ……………………………………………………….p.

Chapter 1. Artistic originality of the literary fairy tale of the XIX-XX centuries. …………………………………………………………………With.

Chapter 2. Artistic and aesthetic features of L.S. Petrushevskaya …………………………………………………..p.

Conclusion …………………………………………………………..p.

List of used literature ……………………………p.

Introduction

Purpose of the study:

to identify the most characteristic artistic and aesthetic features of L.S. Petrushevskaya, the interaction of tradition and innovation.

To achieve this goal, it was necessary to solve the following tasks:

Conduct an analysis of scientific, critical literature and reference literature on the problem of folk and literary fairy tales.
To analyze the most popular fairy tales of L. Petrushevskaya in order to identify characteristic techniques in their writing, characteristic artistic and aesthetic features (genre, style, system of characters' images).

Methodological basis of the studythere are works on folk and literary fairy tales and on the work of L.S. Petrushevskaya.

Chapter 1. Artistic originality of the literary fairy tale of the XIX-XX centuries.

A literary fairy tale, unlike folklore, by its nature is a genre of individual, not collective creativity. The general genre uniformity of the folk tale is opposed by the individual diversity of the writers' tales. folk art in general.The degree of presence of the folklore beginning in the author's fairy tale can be different.The literary tale is rooted in the folk tale. Therefore, in order to determine the genre features of a literary tale, it is necessary to understand how it differs from a folk tale.

A literary fairy tale, along with the laws of the genre, which it cannot but follow, often borrows from the folk tradition one or another of its features in one or another combination; this, in particular, explains the diversity of the literary tale.

The author of a literary fairy tale can borrow the plot of a folk tale and offer its original version. Or, on the contrary, a fairy tale can have a completely independent plot and at the same time use folklore ways of organizing a fairy tale.The magical element in the author's fairy tale is always combined with the realistic,and this makes the work double-addressed: behind the text of the fairy tale addressed to children, there is a subtext that is understandable to adults. In general, the author's tale proclaims the same ideals as the folk tale: it strengthens the reader's faith in the triumph of goodness and justice, teaches him to sympathize with the hero.

A literary fairy tale is a whole trend in fiction. Over the long years of its formation and development, this genre has become a universal genre, covering all the phenomena of the surrounding life and nature, the achievements of science and technology.

Just as a folk tale, constantly changing, absorbed the features of a new reality, a literary tale has always been and is inextricably linked with socio-historical events and literary aesthetics. It was based on a folk tale, which became famous thanks to the records of folklorists.

The era of romanticism created an intermediate stage between folk and literary fairy tales. It was then that a fairy tale arose, which is defined as "folklore" (as opposed to folklore, folk), meaning the literary record of a folk tale, recorded by folklorists and transformed by them in their own way.

The first in the field of literary fairy tales was the French writer Ch. Perrault. At the end of the 17th century, during the period of the dominance of classicism, when the fairy tale was considered a "low genre", he published the collection Tales of My Mother Goose (1697).

Charles Perrault was the first writer in Europe who made the folk tale the property of children's literature. The turning point in the history of the literary tale was the work of the Grimm brothers, collectors of folk tales and creators of literary tales. One of the best masters of the German author's fairy tale was the prose writer Wilhelm Hauff (1802–1827), who combined oriental motifs with the motifs of German folklore.

The Italian writer Carlo Collodi (1826–1890) created the classic fairy tale The Adventures of Pinocchio.Behind the adventures of the wooden doll, attentive readers discerned a second plan and, on this basis, interpreted the fairy-tale episodes as a gospel plot (the carpenter-father, the Last Supper in the Red Cancer tavern).

Rudyard Kipling (1865-1936) used in his prose knowledge not only of native folklore, but also of world mythology.

Swedish writer, Astrid Lindgren (1907–2003) began writing fairy tales after World War II. Her books reflected the changes that Western society has undergone: behavioral stereotypes have changed, social norms have become less strict, and therefore, even a few years earlier, books such as Pippi Longstocking or The Kid and Carlson, who lives on the roof, would not have seen light.

A literary fairy tale, according to Andersen, is a universal phenomenon: “Fairy tale poetry is a vast kingdom that stretches from the bloody graves of antiquity to a naive children's album. It covers both folk art and literary works, it is a representative of poetry of all kinds, and a master who has mastered this genre of poetry, must be able to put into it the tragic, comic, naive, ironic and humorous

Russian literary fairy taleaccepted what was developed by traditional folklore (the spiritual experience of the people, ideals and hopes, ideas about the world and man, good and evil, truth and justice - in a perfect, harmonious, capacious, developed form for centuries), combining the moral values and artistic achievements of the people with creative talent. The fairy tale has become an integral part of the spiritual culture of the people, the fairy tale principles of understanding and depicting the world and man are universal and recognizable in art. The history of the author's fairy tale as a whole reflects the peculiarities of the literary process, as well as the originality of literary and folklore interaction in different historical and cultural periods. In the field of fairy tales, the interaction of folklore and literature was the closest, longest and most fruitful. A fairy tale as a kind of folk epic creativity lived not only in a traditional, natural existence or existed in the form of texts fixing oral tradition, but also entered Russian literature on an equal footing - in the form of a literary fairy tale.

The Russian literary fairy tale entered the arena of literature and formed as a special genre around the 19th century. Vasily Andreevich Zhukovsky (1783–1852) became the ancestor of the Russian author's fairy tale. Fairy tales were part of the literary heritage of A.S. Pushkin (1799–1837).

The 20th century is the century of great discoveries, upheavals and catastrophes. With the change in the way of life, the mentality of the Russian people has also changed.The role of the author's principle has increased. Appeared, more and more clear,a guide to a certain type of reader's consciousness- fairy tales for children, fairy tales for youth, fairy tales for adults. The social situation increasingly began to influence the fairy tale, which led to a gradual erosion of its canonical genre foundations. The new era forced us to rethink the traditional genre elements of the fairy tale. If the 19th century was more focused on the folk basis, then in the 20th century the original plot began to dominate. Time, a specific era corrected the genre, structural features of the tale.

In Y. Olesha's fairy tale "Three Fat Men", obsolete magicians and sorcerers are replaced by a new type of wizards - a scientist. All fairy-tale adventures are devoid of the usual magic for a folk tale, but rather resemble an adventure story. changed in the 30s. the political and general literary situation, ideological party censorship, had a powerful influence on literature. Fairy tale writers found themselves in the most advantageous position. The fairy tale genre itself was a means of fighting the fantastic, the extraordinary, with party canons.

The characteristic features of the author's fairy tales of that time are the relationship of unusual heroes, a fairy-tale country and the relationship of the real world (those relationships that were characteristic of our country in the 30-40s), (A. Tolstoy "The Golden Key, or the Adventures of Pinocchio", V. Gubarev " The Kingdom of Crooked Mirrors", A. Nekrasov "The Adventures of Captain Vrungel", N. Nosov - a trilogy about Dunno).

Some fairy tales preserve the traditional folklore dual world, but it is transformed into the socio-political sphere - two systems are opposed: capitalism and socialism.

The hero of a fairy tale of the twentieth century achieves the results he needs, first of all, thanks to his own work (V. Kataev "The Pipe and the Jug", E. Permyak), which was not in the folk tale ("Emelya"). A miracle bestowed by magical assistants - an old woman from the fairy tale "Flower-Semitsvetik" or an old boletus ("Pipe and Jug") - does not help the heroes directly, but only contributes to the education of important character traits: industriousness, disinterestedness, etc.

The ideology of the 1930s and 1940s also permeates magic: a miracle aimed at satisfying one's own needs is futile. Truly wonderful is only the desire to help another: the last petal of a magical flower brings health to Vitya, and Zhenya - joy ("Flower-Semitsvetik").

New life, new ideals become more amazing than magic (L. Lagin "Old Man Hottabych"). Hottabych's sorcery turns into harm, the genie's revenge turns out to be inappropriate in the new society (turning people into sheep, sending Zhenya to India as a slave), his magic is perceived as a joke, a game. The victory remains not with wisdom and experience, but with a new ideology, which determines the development of a literary fairy tale in this period.

The social and cultural situation in the country has changed dramatically since the late 1950s. These changes also affected children's literature, which faced new challenges. A new hero enters the literary scene. As a positive type is perceived in the 60-90s. a naughty child, very restless and naughty from the point of view of a classical adult educator, but a lively, direct researcher of life from the position of the author and reader (E. Uspensky, N. Nosov, V. Krapivin, T. Kryukova, etc.). This is a sweet and kind child, fond of, with non-standard thinking.

New times required new forms. The fairy tale firmly includes elements of fantasy, and scientific and technical literature, etc. Magic miracles are being replaced by a children's game: "star travel" to other planets or even to other galaxies and the adventures that accompany them (the adventures of Alisa Selezneva in K. Bulychev's series).

The fairy tale focuses on the older age of the reader (adolescent and youthful), pushing the boundaries of the genre. Unusual heroes of fantastic and fairy-tale works can be humanized and fit into a normal environment, an ordinary team, and the writer's main attention is focused on depicting their difficult inner world and on the desire to become a person (E. Veltistov "Electronics - a boy from a suitcase".

The ratio of “here and “there” from the sphere of reality/unreality (folklore) or social (fairy tale of the 1920s–1950s) passes into the spiritual.

The fairy tale of the second half of the 20th century turned out to be able to combine fairy tale elements with everyday life, which contributed to the breaking of the genre, its transformation.

Chapter 2. Artistic and aesthetic features of L.S. Petrushevskaya

Lyudmila Stefanovna Petrushevskaya is an author who embodies modern Russian prose and dramaturgy. Lyudmila Petrushevskaya is better known for her works for adults. However, works addressed to children occupy a prominent place in her work. Petrushevskaya is the author of fairy tales, the puppet novel "The Little Sorceress", plays for children, as well as the script for the cartoon "Tale of Fairy Tales".

The writer is the creator of her own, special, unique artistic world. The genre diversity of her works is great. She started out as a playwright, then moved into prose. Currently, fairy tales have become Petrushevskaya's favorite genre of creativity.Tales of Petrushevskaya are diverse. They are distinguished by their focus on various folklore and fairy tale genres, and by a special pathos, and by an original system of images. They are calledphilosophical-satirical, absurd-philosophical, allegorical and so on.

In the 70-90s of the twentieth century. Petrushevskaya wrote plays-tales for children, several cycles of prose tales: "Treatment of Vasily and other tales" (M., 1991); "Tales for the whole family" (October. 1993. No. 1); "Wild Animals Tales" (Capital. 1993-1995). These fairy tales are modern, new both in time of creation and in ideological and artistic originality.Her fairy tales are firmly based on the rich arsenal of artistic means of folk fairy tales.Miracles, magic items, evil sorcerers and helpers, a hero who gets what he deserves - all these signs of fairy tales are available to Petrushevskaya. Fairytale events are taking place in our time. The characters of fairy tales do not live in the thirtieth kingdom, but somewhere nearby, on the same street, in the same house with the readers.

miraculous Petrushevskaya often appears as ordinary and ordinary, and simple human happiness as a real miracle. In her fairy tales one constantly feels irony and sadness a person who only plays the role of a storyteller who believes in magic and makes the reader believe in it. In her fairy tales, as in stories, one feelsdeformation of lifein which normal human connections are distorted or completely lost.

If we talk about the folk-tale prototype, then Petrushevskaya's fairy tales are based primarily on household (satiric and novelistic) fairy tales (depicted are internal contradictions, alogism of reality, family and everyday problems, close to ordinary language) and fairy tales about animals (the animal world is an allegorical depiction of human relations).

Non-traditional, philosophical tales with any coloring (parodic, moralizing, humorous, allegorical) rise to high humanistic ideals. The fabulously generalized forces of good and evil, opposed to each other, can be hostile. But that's not the point. Behind the conditionally fabulous adventures of things, animals, dolls, kings, princesses, people and wizards, there are eternal human feelings and social relationships. This "fabulous" world can be described as a world where magic and cruelty coexist.Classification of fairy tales by L.S. Petrushevskaya:fairy tales, parables, social fairy tales, fairy tale, anecdote.

The style of Petrushevskaya's fairy tales is naturally colloquial.The ability to talk about the terrible problems of reality in the form of innocent stories, a peculiar style that combines a lightweight "language for children", the colloquial manner of the layman, the emphasized "raw" oral speech of the narrator with philosophical conclusions and comments - a bright individual feature of Petrushevskaya's fairy tales.

One of the characteristic features of the fairy tales of Lyudmila Petrushevskaya is citation. The writer turns to plots, images and motifs, often well known from other literary fairy tales. This is most clearly manifested in the fairy tales "Princess White Legs, or Who Loves, Carries in Her Arms" and "Mother Cabbage", written based on the fairy tales "The Princess and the Pea" and "Thumbelina". Numerous literary associations attract attention in these and other tales. Petrushevskaya relies on the tradition of literary fairy tales (Andersen, Hoffmann, E. Schwartz, Gauf), and on non-fairytale texts (Shakespeare, Krylov, Kharms), as well as on science fiction ("Maria and Elena", "Grandfather's Picture", " Adventure in the Space Kingdom").

As can be seen from the example of Petrushevskaya's fairy tales, a text addressed to children may contain literary associations that are quite accessible to children's understanding, although in most cases they are worn to the "adult" content of fairy tales, as in the fairy tale "Marilena's Secret", where the old general reads love letters scoundrel Vladimir, addressed to Maria and Elena, examines the attached photographs, "hoping to someday retire and there, in peace, write a novel about the amazing power of love of one young man V. called "The Sufferings of Young V." with photographic documents." Or, as they say about the coup d'état in the fairy tale "The Prince with Golden Hair": "the power has long changed, everything was ruled by new young people, fast, in leather jackets ... But if the allusion to Goethe's novel" The Sorrows of Young Werther "and a hint of Bolshevik revolutionaries are focused on "adult" perception, then some of the author's hints are addressed to both an adult and a well-read, well-read child. For example: "the prince ... kissed the princess quickly on the lips, he read somewhere that this is how you can revive princesses" ("Princess Whiteleg, or Who loves, wears in her arms") "Yes, remember, in the fairy tale about Cinderella by Evgeny Schwartz? In all difficult cases, you must dance!" ("The Secret of Marilena").

Perhaps the greatest difficulty for children to "recognize" isplot borrowing. The plot of the tale "The Prince with Golden Hair" clearly refers to Pushkin's "The Tale of Tsar Saltan", which is especially noticeable at the beginning of the tale: the courtiers drive the young queen out of the palace in the absence of her husband. True, the motive for this act is completely different: the queen had a son with red hair, although there was no redhead among the king's ancestors, while "the mother was not taken into account."

In the fairy tale "Girl Nose", the main character named Nina gives the magician first the thumb of her right hand for a new nose, then the index finger for the news of her beloved Anisim, and the reader familiar with "The Little Mermaid" G.Kh. Andersen, anxiously awaits a bad end, but Petrushevskaya, who does not have a single fairy tale with a bad end, ends this fairy tale with a wedding: the magician returns Nina's former nose, and Anisim returns her fingers with the help of medicine: "And Nina soon married her dear Anisim and bore him many funny children. The reader's expectations that both children and adults may have are not justified in "The Prince with Golden Hair": the family is reunited, but at the same time becomes an ordinary happy family: "the coronation of the new ruler took place in the nursery, and the grandfather glued the crown out of cardboard and covered it with silver paper from under the chocolate.

Some adult meanings that may not be clear to younger children createcomic effect.For example, in the fairy tale "Stupid Princess", Princess Ira runs a veterinary clinic and allows the owners to live with their pets, even if it is a simple forest bug. Her future husband, Peter, drives out all the charlatans, giving one of them on the neck: "the rest understood everything themselves and left, swaying strongly, apparently from grief. Some of them sang sad songs loudly." Only adults and older children can appreciate this passage, for whom this will undoubtedly cause the joy of understanding the author's hints "not for everyone."

In some fairy tales there isexplicit plot reliance on the genre of science fiction.In the fairy tale "Grandfather's Picture", humanity is threatened by a catastrophe, characteristic of science fiction, nuclear winter, and although the threat is not called by its name, its origin is quite transparent: "a cloud of impenetrable substance hangs over our territory and the sun will never appear again: there will be eternal winter, winter and winter again. The fairy tale "Anna and Maria" is based on the sci-fi novel "Professor Dowell's Head" by A. Belyaev. The wizard acts according to the technology invented by Dowell, replaces the sick body of his wife Anna with the healthy body of a woman, Mary, who dies from a head wound, with the only difference being that he combines a scientific experiment with a magical miracle.

A fairy tale and science fiction form a kind of symbiosis in the fairy tale "Adventure in the Space Kingdom", magic in the fairy tale coexists with science fiction motifs. This manifests itself already at the level of the oxymoron title: the kingdom in question exists within the traditional sci-fi image of the cosmos. The main characters - King Ktor and Princess Ba rule not in one country, but in the whole space. Heroes, on the one hand, fly in a spaceship, covering distances of light years, visit other planets, etc. On the other hand, the adventure, to which the fairy tale is actually dedicated, became possible thanks to the "science of transformations" forbidden in the kingdom.

Tales of Petrushevskaya, as critics and researchers have repeatedly noted,full of household items. These are, for example, the life difficulties of two lonely old sisters from the fairy tale "Two Sisters". They receive a small pension and live very poorly: the sisters "boiled potatoes for lunch, ate a piece of bread for breakfast and drank a glass of boiling water." "The background of Petrushevskaya's fairy tales," writes E. Tinovitskaya, "is a terrible, absurd and at the same time ... very recognizable reality. There is always a certain everyday context (we know from Petrushevskaya's adult works that she is a specialist in depicting situations of this kind). However, this background is hinted at like some kind of noise from the world of modern reality.

The fairy tales of Petrushevskaya, as we tried to show, are filled with manyallusions and reminiscencesaddressed to both the adult reader and the child reader. In the case of joint reading, the sphere of children's meanings can be expanded with the help of an adult if he explains to a small listener what remains incomprehensible to him. At the same time, of course, it is impossible to draw a clear line between content that is fundamentally “childish” and “adult”. The author engages the reader in a game of identifying sources and deciphering hints, in which both adults and children take part.

Conclusion

Thus, the literary and folklore fairy tales are considered, despite their interconnection, as two independent genres. In general, it seems possible to single out the following genre features of the author's fairy tale: reliance on folklore traditions, the presence of a playful beginning, the presence of the "image of the author", a combination of real and fantastic.

Literary fairy tales are fairy tales born thanks to an individual author, and not to the people. Literary tales were written by many Russian, German, French and other foreign writers. Basically, writers use accessible folk fairy tales, motifs, or create their own original author's fairy tales, populating them with new fictional characters, heroes.

Having examined the fairy tales of L. Petrushevskaya and made their analysis, we came to the following conclusions. Tales of L.S. Petrushevskaya present special works of art with their style and genre structure. They can be philosophical-satirical, absurd-philosophical, allegorical, nevertheless, they are built on the basis of a magical folk tale, i.e. all signs of such a fairy tale are present - thismiracles, magic items, evil wizards, goodies and helpers of heroes. Fabulous time and space (Far Far Away Kingdom, Thirtieth State) are replaced by modern time. The miraculous motif interacts with, and sometimes is replaced by, a scientific-fanatic motif.

Fairy tales are lacedauthor's irony and sadness. Also at the heart of the tales of L.S. Petrushevskayahousehold tales and fairy tales about animals lie, thus often usedallegory techniques.In creating her fairy tales, Petrushevskaya uses such genres as parable, anecdote.

L.S. Petrushevskaya, just as in folk tales, relies on high humanistic ideals, so the whole world of the writer does not contradict folk values. usedcolloquial.Another feature of L.S. Petrushevskaya is citation , she refers to images of motifs and plots of other famous fairy tales (intertextuality). Fabulousness is combined with realistic descriptions, hence the presence of everyday descriptions (everyday details). All this creates a unique world of fairy tales by L. Petrushevskaya, which are addressed not only to children, but also to adults.

List of used literature

Adonieva S. B. Fairy tale in the context of traditional folklore culture. - L.: LGU, 1989.
Anikin V.P. Russian folk tale. - M.: Fiction, 1984.
Afanasyev AI Poetic views of the Slavs on nature. - M., 1865.
Barzakh A., About the stories of L. Petrushevskaya. - M., 1995.
Lyudmila Stefanovna Petrushevskaya / T.G. Prokhorova // Russian literature of the 19th-20th centuries: a textbook for applicants: Kazan. state un-t; philol. faculty. - Kazan: Kazan state. un-t, 2006. - S.475-482.
Petrushevskaya L.S. Wild animal stories. Sea slop stories. Puski Byatye. - M.: Eksmo, 2003.
Petrushevskaya L.S. Collected Works: In 5 vols. Vol. 4. Book of Adventures: Tales for Children and Adults. - Kharkiv: Folio; M.: TKO AST, 1996. - 352 p.
Prose L. Petrushevskaya as an artistic system. / T.G. Prokhorov. - Kazan: Kazan State. University, 2007.

George Viren

Yes, full, where is this happening, with whom? A mother who brutally beats her little son for the sole purpose of arousing the keen sympathy of others for him. She alone knows that soon they will have to answer for the boy, because she herself is doomed to a deadly disease ("Own Circle"). A woman nicknamed Ali Baba, as they say, of a difficult fate (a drunkard, a thief ...) meets a pleasant young man in a pub, goes to his house, stays overnight ... “Ali Baba fell silent and with a tender motherly feeling in her soul gratefully fell asleep, and then immediately woke up, because Victor wet himself. Then she tries to poison herself, they save her ... ("Ali Baba"). But after a quarrel, the wife leaves her husband, he lies sick with the flu for several days, and then, when the wife comes to pick up her things and does not even look at him, she rushes from the seventh floor (“Flu”). And what kind of strange “girl” is crying all day long, smoking, and even provoking all the men she meets to immediately fill her up on the bed? ("Such a girl"). Okay, we read the newspapers, the morals of drug addicts and prostitutes do not really surprise us anymore. But here, at Petrushevskaya's, there are more or less normal people, many even with signs of intelligent professions, without mental or other deviations. Who are they, where are they from?

And gradually, when you try to get used to their circumstances and destinies, when you are imbued with their problems, you put yourself in their place, you begin to understand: really normal people, ordinary people. Under cruel but not extraordinary circumstances; dramatic but not unique. They are flesh from the flesh of today, over there, outside the window, the streets. They leave small-sized apartments, bypass littered stairwells, ride in elevators scribbled with obscenity, go out into the street, fall if it is icy, get wet if it rains, choke on buses and the subway, crowd in shops, drag sleepy children to kindergartens in the morning and schools, then languish in the service, in the evening, hung with shopping bags, in a hurry to pick up the children from after-school, they say ...

My God, as they say! Here, for example: “... and after all, no one thought to blame his wife for staying alive, and no extenuating circumstances were needed, such as having a child” ... A monstrous mixture of clericalism and everyday speech, a choking, tongue-tied stream of words with countless repetitions .

From here - Petrushevskaya's prose, devoid of metaphor, sophistication, elegance, and beauty in general. Of course, one should not simply understand the matter: this prose only seems to be a tape recording of street chatter, in fact, the author achieves such an impression with considerable skill. Petrushevskaya's original prose grew up at the intersection of a modern simplified, even vulgarized language and rich literary traditions.

But what is it about? In one interview, Petrushevskaya dropped a catchphrase: "Literature is not the prosecutor's office." And in creativity it is true to this principle. What she doesn't have a grain of salt in is judgment. It simply goes against the nature of her prose. "People are not given!" Bakhtin said. Petrushevskaya tragically experiences this “under-givenness” of kindness and happiness, warmth and care. And therefore her heroines are full of pity. A woman from the story “Such a Girl” says about a friend: “From the very beginning of our acquaintance, she made some kind of stinging impression on me, like a newborn animal, not a small one, but a newborn that does not touch with its prettyness, but directly stings in the very heart ".

To whom does Petrushevskaya sympathize the most? Undoubtedly, women. If you try to define the main theme of Petrushevskaya, then this is, perhaps, the fate of a woman in a cruel world. Cruel and bitter. That is why the women of Petrushevskaya are not sweet, not charming. Evil, cynical... She-wolves. But - and here the main thing! - she-wolves rescuing cubs. “Maybe everything that happened to a husband could happen to a wife, if she didn’t have a daughter, if she didn’t need to live in all, any circumstances.” Therefore, anger and cruelty, bared teeth and withers on end. But still, for the sake of children, which means that there is pity, love, and suffering nearby ... Motherhood for these women is the highest value, the measure of conscience and morality. And salvation from the surrounding darkness. Petrushevskaya is with them. She sympathizes with them, experiences their dramas, lives their lives. So she writes.

In the early 80s, I prepared an essay on Petrushevskaya, including her interview there. (True, the essay did not go to print: the editor-in-chief of the magazine consulted with one of the officials of the Ministry of Culture and received “good advice”: “You don’t need this.” But now about something else.) In that interview, Petrushevskaya said that the impulse to work for her is someone else's problem. Someone is tormented, does not find a way out, and you begin to think what to do, and suddenly you write. And not about this person and not about herself, but about someone else, and in the end it turns out that both about him and about herself ... Therefore, it is not difficult to formulate Petrushevskaya's creative method: merging with the characters. Just saying is hard to do. “To understand someone else’s soul means to reincarnate” (Pavel Florensky). And only high selfless love gives such a merger. And such insights: “He did not suspect, being almost sober, that behind each large eyes there is a personality with its own cosmos, and each of this cosmos lives once and every day it says to itself: now or never.” Petrushevskaya calls (although this word is not from her vocabulary) to enter every cosmos, and this applies to everyone. More precisely - all who are in trouble.

And, probably, it is precisely the painful feeling of “not being given” that turns Petrushevskaya to dramatic, cruel themes, to “black colors”, sometimes extremely condensed. Yes, that's her point of view. But why should everything in every work be weighed on an apothecary's scales, and black and white should be brought into the exact ratio? And who knows this ratio, who has the right to determine it? And someone will say about Petrushevskaya’s stories: “Disgusting, it doesn’t happen like that!”, And someone: “This is half-truth, life is more terrible!” Well, how can you argue? Here Elena Chernyaeva (“Literaturnaya Rossiya”, 1988, No. 9) believes that “in the heroine of the story“ Your Circle ”it is impossible to recognize even if she is inferior, but her mother - both her thoughts and feelings are born of the habit of bachelor life ... "I hasten to agree that in the circle of acquaintances of E. Chernyaeva there are no such mothers. Well, in the circle of L. Petrushevskaya - there is. And, therefore, the argument is useless. But maybe the point is not that “it is impossible to know”, but that you don’t want to know?

How long have they been talking about this topic! In 1908, Fyodor Sologub, in the preface to the second edition of his novel The Little Demon, wrote: “People love to be loved. They like to portray the sublime and noble side of the soul. Even in the villains, they want to see glimpses of goodness, “a spark of God,” as they used to say in the old days. Therefore, they do not believe when the image is true, accurate, gloomy, evil in front of them. I want to say: "He is about himself." No, my dear contemporaries, it was about you that I wrote my novel about the Petty Bes and his terrible Nedotykomka ... About you.

And here we are approaching a topic that cannot be avoided when speaking about the work of Petrushevskaya. A few years ago, presenting one of her plays in the Theater magazine, Alexei Arbuzov wrote: “Thinking about Petrushevskaya, you want one thing - to protect her talent from misunderstanding.” Arbuzov turned out to be a prophet. See how many names literature has taken on in recent years! She received V. Pyetsukh - a sad mocker, a sad man in a mask of a joker and a yernik; downright "with a bang" accepted T. Tolstaya - an ironic mourner for the absurdly leaving in the emptiness of the past lives; long ago approved of the classically strict, most intelligent L. Bezhin; slightly opens the door to two Erofeevs: Victor, who grew up on the Western literary mentality, and Venedikt, broken by the evil idiocy of "race" life ... Formally, some of these writers belong to a generation younger than the generation of Petrushevskaya (however, I foresee soon a pandemonium of literary generations: the first books of twenty and fifty-year-olds will be published simultaneously, and go and figure out who is a beginner and who belongs to what generation!), Petrushevskaya has been working in prose and dramaturgy longer than many. And all the time around her there is a sense of alertness ... Fear. And this is reflected not only in criticism, but also in publishing affairs: publications are single and random (only the stubborn, faithful to old love "Aurora" publishes her stories systematically), for many years not a single book of prose (although the first was collected, as far as I know, fifteen years ago) ... What's the matter? I think it's about censorship.

No, no, reader, we are not talking about the usual censorship of recent years, about some kind of ideological guard with the "works" of Zhdanov and Suslov at the ready - this figure is slowly (oh, slowly!), But irrevocably goes towards the wax museum. No, we are talking about censorship completely different, which cannot be canceled either by political or by any other decision: about aesthetic censorship, that is, about that very “love of the noble” that Sologub wrote about. And these secret censors nest in the minds of competent professionals - writers who love and publish Nabokov and Gumilyov, Khodasevich and Klyuev ...

Recently, our literature, striving for its true scope, has noticeably expanded to include new or forgotten old styles, trends, and views. The range has become wider, but Petrushevskaya's prose still "goes off scale", outraging and repelling. And it seems that no one refuses the writer's talent, but her work is largely not accepted. A brief formula for such an ambivalent attitude was given by Tvardovsky in his resolution on the story "Such a Girl": "Abstain from printing, but do not lose contact with the author." It seems to me that the point here is not only that in 1968 Novy Mir could not publish this story for reasons beyond the control of the editors. Unfamiliarity eliminates fear.

The call to all of us to learn democracy has become commonplace. But not in common, alas. The restructuring (and hence the democratization) of literature obviously consists not so much in the fact that the doors are wide open to works known to the entire reading world, except for the readers of the most reading country in the world, not so much in the fact that it is allowed to publish the truth about the crimes of Stalinism and insanity of the Brezhnev regime. For literature, in my opinion, these are just some (albeit important!) components of a new, broad consciousness, democratically including aesthetically diverse, very dissimilar and not universally acceptable views. None of them claims to know the ultimate truth, but all together they give this knowledge, or at least come very close to it. This fully applies to Petrushevskaya, whose work shocks many with the frankness of the cruel truth.

“Without me, the people are not complete...” It seems to me that without the work of Petrushevskaya, our literature would not be complete. Not so vigilant and fearless view of the world. The soul would not have been so tormented by the disorder of life. Compassion would not be so piercing.

Keywords: Lyudmila Petrushevskaya, criticism of the work of Lyudmila Petrushevskaya, criticism of the plays of Lyudmila Petrushevskaya, analysis of the work of Lyudmila Petrushevskaya, download criticism, download analysis, free download, Russian literature of the 20th century

Supervisor:

Prishchepa V.P.

Abakan, 2011

Content:

Introduction______________________________________________________________3-5

Chapter 1. Criticism about the work of the writer.

1.1. Brief overview of creativity ________________________________________________________ 6-7

1.2.Features of the dramaturgy of L. Petrushevskaya

(Postmodernist trends in themes, artistic features of plays, language) __________________________________________________ 8-11

1.3. Features of prose _______________________________________________ 12-14

Chapter 2 The study of the work of L. Petrushevskaya at school literature lessons

2.1. Characteristics of "Women's Prose" in the story of L. Petrushevskaya ________________________________________________ 15-17

2.2. Methodological techniques for writing a review in high school after reading the story "Waterloo Bridge" (1995) ________________18-34

Conclusion ______________________________________________________________35

References _____________________________________________36

Introduction

L. Petrushevskaya is one of the brightest representatives of modern Russian literature. According to G.L. Nafagina L. Petrushevskaya "belongs to the writers of the generation of the 70s", the so-called conditional-metaphorical direction for which the world consists on the basis of various types of conventions (fabulous, mythological, fantastic). Therefore, her works are devoid of deep psychologism, voluminous characters. Some critics attribute it either to “other prose”, or to postmodernism, for which the domestic environment is important, and “man is a grain of sand thrown into the whirlpool of history.” She created a special, in many ways unique artistic world.The appearance of the first publications of L. Petrushevskaya caused a sharp rejection of official criticism. From the first appearance on the literary arena, the writer posed a number of mysteries for critics and literary theorists, one of which was the original image of the narrator. Petrushevskaya discovered a gift for "shorthand reproduction" of everyday situations, setting them out with frightening accuracy in "the hateful, crazy language of the queue." The language of her works became the spokesman for the "psychopathology of everyday life." But it was only this extraordinary style of Petrushevskaya that could cause the "effect of a self-expressing life", making her one of the most prominent figures in modern prose.

Recognition and fame came to the writer in the second half of the 1980s, after significant changes in the political and cultural life of the country.But her work remains insufficiently explored from an artistic point of view. The controversy around the works of L. Petrushevskaya, which accompanies the writer from the very first publications, continues to the present. The inconsistency of private judgments of almost everyone who has ever written about L. Petrushevskaya was accompanied by a unity of opinion in assessing all her work as an extraordinary phenomenon.

There are no special works devoted to the study of the work of L. Petrushevskaya at literature lessons at school. Meanwhile, this is a key problem, through the prism of which one can trace the dynamics of the writer's worldview, see the formation and development of the artistic world of L. Petrushevskaya, the features of her unique author's style. This is what determines the relevance of our study. The work carried out is an attempt to clarify the features of the artistic system of L. Petrushevskaya's short prose when studying it at literature lessons at school. The connection between the artistic ways of embodying the writer's intention and the genre of the work is obvious, since a literary work is real only in the form of a certain genre. It is the genre that determines the system of compositional and speech forms of an epic prose work, the ways of its division and linkage of parts, the nature of artistic time, and so on.The genre diversity of her works is quite large. The issue of studying modern literature from the point of view of narrative tendencies is currently becoming particularly relevant, since it becomes a problem not only of a philological, but also of a sociocultural nature, since L. Petrushevskaya is mainly a representative of the so-called "women's prose".

In stylistic experiments, which are a controversy with traditional forms of narration (the author's omniscience, direct authorial self-determination), it is legitimate to see L. Petrushevskaya and her contemporaries as a reflection of the consciousness of modern man with all the cultural ideologies rooted in him. The study of the latest literature from the point of view of narrative tendencies is becoming one of the most urgent problems of modern literary criticism.

The main body of research is journal and newspaper criticism. Petrushevskaya is one of the few contemporary authors whose work is under the scrutiny of criticism: practically none of her works has gone unnoticed. The inconsistency of private judgments of all who have ever written about Petrushevskaya was accompanied by a unity of opinion in assessing all her work as an extraordinary phenomenon.
Almost all critical studies on Petrushevskaya's prose, from the earliest to the latest, sometimes contain mutually exclusive conceptions of the narrator's image. If T. Morozova says that Petrushevskaya’s narration is voiced by the voice of a “gossip narrator, smart and attentive to human sins,” then
1 Analyzing the journal prose of 1988, S. Chuprinin noted that, along with works of distinct social problems, there is also “another prose” - “(other in terms of problems, and in moral accents, and in artistic language.” More radical criticism spoke of this prose as about "darkness" in literature.
2. L. Ulitskaya wrote about the effect of “shock therapy” with L. Petrushevskaya: “Here is a writer who made a “talented” deep social diagnosis. This diagnosis has always seemed very cruel to me. But persuasive."
3. The definition of L. Petrushevskaya’s prose as “vulgar poetics, glorifying decay and decay and ruthless indifference to people” (Ovanesyan?. Creators of decay // Young Guard, - 1992. - No. 34 .- P. 249-252) is adjacent to the opinion that “the image of decay contains an active charge of humanity and compassion and prompts a reconsideration of the way of life to a much greater extent than open calls and condemnations expressed by the author” (Nevzglyadova E. Plot for a short story // Nov. Mir. - 1988. - No. 4.-S. 256-258).
M. Lipovetsky sees the "tone of the narration" of the author as completely different, reaching the "depth of mutual understanding" between the narrator and the hero.

Based on the foregoing, the followingObjective: To analyze the features of the study of L. Petrushevskaya's work in modern criticism and in literature lessons.

Tasks:

Conduct an analysis of the literature on the topic of the abstract;

Consider reviews of critics about the work of L. Petrushevskaya;

To identify the features of the writer's work;

Develop a lesson on the study of the work of L. Petrushevskaya at school.

Chapter 1. Creativity L. S. Petrushevskaya

Petrushevskaya Lyudmila Stefanovna - prose writer, playwright.

She was born on May 26, 1938 in Moscow in the family of an employee. She lived a difficult military half-starved childhood, wandered around her relatives, lived in an orphanage near Ufa. After the war, she returned to Moscow, graduated from the Faculty of Journalism of Moscow University. She worked as a correspondent for Moscow newspapers, an employee of publishing houses, since 1972 - an editor at the Central Television Studio.
Petrushevskaya early began to compose poetry, write scripts for student evenings, without seriously thinking about writing. The first published work was the story "Across the Fields", which appeared in 1972 in the magazine "Aurora". Since that time, Petrushevskaya's prose has not been published for more than a dozen years.
The very first plays were noticed by amateur theaters: the play "Music Lessons" (1973) was staged by R. Viktyuk in 1979 in the theater-studio of the House of Culture "Moskvorechye" and was almost immediately banned (it was published only in 1983). The production of Cinzano was staged by the Gaudeamus Theater in Lviv. Professional theaters began staging Petrushevskaya's plays in the 1980s: the one-act play Love at the Taganka Theatre, Kolombina's Apartment at Sovremennik, and The Moscow Choir at the Moscow Art Theatre. For a long time, the writer had to work "on the table" - the editors could not publish stories and plays about the "shadow sides of life." She did not stop working, creating joke plays (“Andante”, “Columbine’s Apartment”), dialogue plays (“Glass of Water”, “Isolated Box”), a monologue play (“Songs of the 20th Century”, which gave the name to the collection of her dramatic works ).

In recent years, Petrushevskaya turned to the genre of the modern fairy tale. HerTales for the whole family (1993) and other works of this genre are written in an absurdist manner, reminiscent of the tradition of the Oberiuts andAlice in Wonderland L. Carroll.
Petrushevskaya's stories and plays have been translated into many languages of the world, her dramatic works are staged in Russia and abroad.

L. Petrushevskaya lives and works in Moscow.

(Postmodernist trends in themes, artistic features of plays, language)

From the beginning of the 1970s, the “theatrical novel” of the prose writer began: at the suggestion of the Moscow Art Theater, Petrushevskaya wrote the play “For Lunch” (later destroyed by the author), and then “Music Lessons”, which O.N. Efremov did not put, however (the situation in rhyme) "did not lose contact with the author." L. Petrushevskaya enters the studio of A. Arbuzov, the play "Music Lessons", which did not go to the Moscow Art Theater, was staged by Roman Viktyuk. In 1983, Mark Zakharov staged the play "Three Girls in Blue" in Lenkom, which today is already included in school literature programs. Prohibited from being staged for several years in a row, the play has become an event in modern dramaturgy.

The action of Petrushevskaya's plays takes place in ordinary, easily recognizable circumstances: in a country house (Three girls in blue , 1980), on the landing (Staircase , 1974), etc. The personalities of the heroines are revealed during the exhausting struggle for existence, which they lead in cruel life situations. Petrushevskaya makes visible the absurdity of everyday life, and this determines the ambiguity of the characters of her characters. In this sense, the thematically connected plays are especially indicative.Cinzano (1973) andSmirnova's birthday (1977), also a playLessons music . In the finalmusic lessons there is a complete transformation of the characters into their antipodes: the romantically in love Nikolai turns out to be a cynic, the broken Nadia - a woman capable of deep feelings, the good-natured Kozlovs - primitive and cruel people.

The literary critic R. Timenchik believes that there is a prosaic element in Petrushevskaya's plays, which turns them into a "novel written down by conversations."
One of Petrushevskaya's most famous plays isThree girls in blue . The inner wealth of her main characters, relatives who are at war with each other, lies in the fact that they are able to live in spite of circumstances, at the behest of their hearts.
Andante Colombina Apartment

The dialogues in most of Petrushevskaya's plays are structured in such a way that each next line often changes the meaning of the previous one. According to critic M. Turovskaya, “modern everyday speech ... is condensed in her to the level of a literary phenomenon. Vocabulary makes it possible to look into the biography of the character, to determine his social affiliation, personality.
Petrushevskaya shows in her works how any life situation can turn into its own opposite. Therefore, surrealistic elements that break through the realistic dramatic fabric look natural. This is what happens in a one-act play.Andante (1975), which tells about the painful coexistence of the diplomat's wife and mistress. The names of the heroines - Buldi and Au - are as absurd as their monologues. In a playColombina Apartment (1981) surrealism is a plot-forming principle.

Symbolic swinging on a swing above the stage representing the apartment of the Kozlovs, the main characters Nina and Nadia in the finale of Music Lessons (1973) - isn't it a postmodernist move? Not to mention the remarks that can be found, for example, in the play “Get up, Anchutka!” (1977): “And h u t k a. That's it, I crumble to dust! (crumbles to dust .)" (Let's take pity on the director again)...
On the formation of his conceptual dramaturgy L.S. Petrushevskaya herself casually says in the “Ninth Volume”: “This translation from French was brought to me by the director of the Moscow Art Theater, Igor Vasiliev, who was fond of Ionesco and Beckett and raised me on the best examples of absurdism<…>, and there were such phrases: “pink and blue nonsense are floating above the stage” (L.S. Petrushevskaya: “In the original it was: “pink and blue members are floating above the stage.” It was about Artaud). "Strange dramaturgy" became for Petrushevskayastarting point ; moreover, to the later plays of the 1990s (the triptych "Dark Room", for example), which various literary critics interpret as the final reign of postmodern aesthetics in its dramaturgy, such elements are even weakened.

What attracted L. Petrushevskaya to the theatre, and what is the secret of her unique artistic intonation? What are her means?

The obvious answer to such questions is one -language : “... you will never record this on any tape recorder, this language. I collect it, it is a pearl of lively real speech, its unintentional comedy - all my life I have been accumulating these fantastic combinations of words like “does not play any weight”. The theater makes it possible to perceive events precisely through language - polylogues of characters.

“High tongue-tied” (or not high) Petrushevskaya, of course, is also justified by tradition (L. Petrushevskaya: “There are no writers who are not tongue-tied. Stubbornness is style”). From Gogol, Dostoevsky, Leskov to Zoshchenko, Platonov, Ven. Erofeev, the spoken language never ceased to be the object of the closest literary study, and there is no need to prove that words in conversation are mixed, “forming absurdities, which, however, are understandable to everyone,” and this speech has an independent aesthetic value.

There are more than enough such examples in the Petrushevskaya Theater. These are elements of rural and urban folklore (proverbs, sayings, catchphrases, various idioms), and the very exhibits of the linguistic museum that the writer collects all his life. By the way, if we talk about some kind of creative evolution of Lyudmila Petrushevskaya, then by it we must first of all mean the development of a sense of proportion in the demonstration of the above-mentioned exhibits. It is logical when a writer says: “I write in the language that I hear, and I find it - the language of the crowd - energetic. Poetic, fresh, witty and true." However, no matter how real and witty he is, he must be exploited in literature with extreme delicacy. When in one of the first plays ("The Stairwell"), in the context of a stylistically even, neutral (as far as Petrushevskaya is possible) conversation of the characters, a remark suddenly breaks in: “Yura. Then I must admit that you also need it no worse than me. We're not pretending to be blind man's blind man here, are we?" - I somehow can't believe it. In later plays, such nuances and transitions are spelled out much more subtle.

The object of linguistic analysis for Petrushevskaya was also slang, conditional social dialects of groups striving for some kind of psychological isolation: adolescents, drug addicts, any kind of "elite" (see, for example, "Andante").
The Petrushevskaya Theater also has one more plot connected with language, perhaps indeed postmodernist, where there is a place for both irony and parody. We are talking about the play “Get up, Anchutka!”, where a pseudo-sacred model of conspiracies is constructed (with partial borrowing from A. Blok), which can be heard from the lips of other village “grandmothers-healers” muttering this conditional nationally marked text over the patient, which is a mixture of Christian prayers, parables and pagan ritual songs. Later, in the “Songs of the Eastern Slavs”, the experience of supposedly fixing folklore will be continued already at a substantive level, and in this case, Lyudmila Petrushevskaya acts precisely as the composer of the speech of the old healer: “And h u t to a. Fufyr-chufyr beaver mozyr.<…>Thunders, thunders, virgins, maidens, mighty whirlwinds, hostile winds, everything is hidden, smoothed over, chufir, beaver. In this text, the author's irony is clearly visible, aimed at two goals at once: at the healing hysteria, in which a sort of fabulous rhythm is heard, and from which it breathes epic wise antiquity, and at the same time at the subject of hysterics, grandmother Anchutka, into whose consciousness it is natural flew along with the words "magic" the words of a clearly different lexicon - the hated Petrushevskaya socialist realism.

In this regard, we can recall similar experiments (the first of which is earlier) by Venedikt Erofeev with his names of cocktails in Moscow-Petushki (1970) and the names of flowers in Walpurgis Night (1985): ”,“ Twice-bearing abbess uncomplicated ”,“ Thunder of victory, resound, ”etc.

In its lubok-dialect style, this text by Petrushevskaya anticipates a similar experience of Tatyana Tolstaya: the novel "Kys" is written entirely in the same closed, constructed, specific language. By the way, at about the same time when T. Tolstaya was creating her novel, L. Petrushevskaya wrote “Karamzin (Village Diary)”, which contains, among other things, the following words: “I watched on TV // people live naked / at home from twigs// on stumps// they dart there// eat worms.” In this case, it is interesting not even that the two writers had one source (in the most general sense; even earlier, the motif of eating worms by feral intellectuals is found, say, in the dystopia of A. Adamovich), but that, in the main work, methodologically dissimilar , they at some stage solved a certain creative problem using the same algorithm.

Petrushevskaya's prose continues her dramaturgy in thematic terms and in the use of artistic techniques. Her works are a kind of encyclopedia of women's life from youth to old age: "The Adventures of Vera", "The Story of Clarissa", "Daughter of Xenia", "Country", "Who will answer?", "Mysticism", "Hygiene" and many others. In 1990, the cycle "Songs of the Eastern Slavs" was written, in 1992 - the story "Time is Night". He writes fairy tales for both adults and children: “Once upon a time there was an alarm clock”, “Well, mom, well!” - "Tales told to children" (1993); "Little Sorceress", "Puppet Romance" (1996).

Petrushevskaya's prose is as phantasmagoric and at the same time realistic as her dramaturgy. The author's language is devoid of metaphors, sometimes dry and confused. Petrushevskaya's stories are characterized by "novelistic surprise" (I.Borisova). Yes, in the storyImmortal Love (1988), the writer describes in detail the story of the difficult life of the heroine, giving the reader the impression that she considers her main task to be the description of everyday situations. But the unexpected and noble act of Albert, the husband of the main character, gives the finale of this "simple worldly story" a parable.

The characters of Petrushevskaya behave in accordance with the cruel life circumstances in which they are forced to live. For example, the main character of the storyYour circle (1988) refuses her only son: she knows about her incurable illness and tries to force her ex-husband to take care of the child in a heartless act. However, none of the heroes of Petrushevskaya is subjected to complete condemnation by the author. At the heart of this attitude to the characters lies the writer's inherent "democratism ... as ethics, and aesthetics, and a way of thinking, and a type of beauty" (Borisova).
In an effort to create a diverse picture of modern life, an integral image of Russia, Petrushevskaya turns not only to drama and prose, but also to poetic creativity. Genre of a vers libre workKaramzin (1994), in which classical plots are refracted in a peculiar way (for example, unlike poor Lisa, the heroine named poor Rufa drowns in a barrel of water, trying to get a hidden bottle of vodka from there), the writer defines it as a “village diary”. StyleKaramzin polyphonic, the author's thoughts merge with the "chants of the meadow" and the conversations of the characters.

In the "Ninth Volume" Petrushevskaya writes that when in 1968 she brought the first stories ("Such a Girl", "Words", "The Narrator", "The Story of Clarissa") to the "New World", the result was the resolution of A.T. Tvardovsky: “Talented, but painfully gloomy. Can't it get brighter? – A.T.” and “Abstain from publication, but keep in touch with the author.”

It is clear that Petrushevskaya's "social prose" is not accidental and has a "visible referent" - everything that is written in some detail in the same "Ninth Volume", a book that explains a lot: military childhood, street education, without a mother, without money, " food collected from garbage heaps, an orphanage, then a long search for ways to survive already in the professional field, then a personal tragedy, the loss of a husband after his long immobile extinction, lack of money, illness of children, bans on publications ... It is clear, therefore, that the writer’s desire to talk about “an ordinary person”, that “it happens” (one of the most favorite sayings of Lyudmila Petrushevskaya), and to speak in a way that was not done in the literature of socialist realism (and even then).

However, then, in the 60s, there was no “Ninth Volume”, there was no precedent to which one could be equal in assessment, and Tvardovsky did not allow a single story to be published. For the first time, the work of L. Petrushevskaya (the story "My Circle") was published in the "New World" only 20 years later.

(Of course, one cannot fail to mention here “Linguistic Tales”, which have long been used by practicing linguist teachers as a visual aid in grammar and word formation of the Russian language. The experience is so successful (even emotionally) that, for example, the word oh, -oh "very soon entered the youth jargon.)

This does not mean that L.S. Petrushevskaya lacks imagination; She is a "good" writer. This does not mean that she herself is behind the faces of the characters: in various articles and interviews, Lyudmila Petrushevskaya several times strongly emphasizes the biographical innocence of her characters in the stories (although many pages of this book, written by a specific person, from the “I”, in which the narrator is not who other than himself historically reliableauthor , - many pages of this book speak exactly the language of Stefanovna, even with the use of "especially important phrases at the end": "you (you) what!", "such things", "what to do!", "it happens" ...). However, it is precisely by means of a tale that a certain collective face of the narrator is drawn from the constructed Petrushevskaya "epic of everyday life" (Mirza Babaev), endowed with knowledge and vision, clearly exceeding the capabilities of the "ordinary person" warmed by the writer's participation. There is a certain universal subject-object image of the narrator - a kind of half-orphan of the arithmetic average age, possessing some undiscovered abilities and harboring unknown ghostly dreams. In the words of Petrushevskaya (“Will-whip”): “The king was, like all kings, an ordinary person: obviously not a fool, but not an academician either. He’s not ugly, but he couldn’t even be called handsome even at a parade in uniform, what to do! ” The gender, however, of this narrator is clearly female, although this is not too important. Petrushevskaya made a name for herself with this. Having once occupied her niche in literature - bottomless, unattractive, far from commerce - and never changing this choice, Lyudmila Petrushevskaya was able to make sure that not onlymine reader, but readers of a wide variety of aesthetic preferences. As Mark Lipovetsky noted in one of the articles, Petrushevskayadidactic that, despite their own doubts (“The viewer will say: why should I watch this in the theater, and even for money - I see them on the street in crowds of such people. And at home, thank you”; the same thought sounds almost verbatim and in the story “Life is a theater”), despite doubts, continues to drive rusty nails of cathartic – almost physical – suffering and horror into the palms of the reader, raising the chernukha to the heights of tragedy. "Novella<…>should cause a shock, ”she says - and the reader experiences it. However, it must be said that Petrushevskaya's task is precisely to shock - and leave to live with it - and not to kill: this is the whole point, and this is her measure. In the chapter “Brother Alyosha” of the “Ninth Volume” L.S. Petrushevskaya recounts an episode that happened to her friend in the drama studio Alexander Rozanov, “which brought just a contamination on the theme of Chekhov's stories, but what! “Chamber number six”, “Rothschild violin”, “Black monk”. Such a nice little play in two creepy acts.<…>Crazy people, doctors, deaths, coffins, diseases, oh Lord, are dragging on!<…>Everyone is in a panic. And suddenly, at the words “The coffin is brought in again,” the people begin to choke with laughter.<…>They said that, oddly enough, too much of the funny gives rise to an empty head, and too much of the terrible gives rise to laughter. Petrushevskaya's works do not cause laughter - even read in a row (which, however, is not worth doing). “Coffins” also float past the reader, the viewer: even if only portraits (“Words”, “Cycle”, “Strange Man” ...), only dotted plot sketches (“The Story of Clarissa”, “Father and Mother”, “Dress” ... ), only short stories and plays without a full-fledged developing action and character world, but this is enough. The horror of the reader of such stories as "Country", "Child", "Pani's Poor Heart", the story "Time is Night" and many others - his horror may even be unbearable, but he will not be saved by laughter. Live with it now.

"Literature is not concerned with happiness." So says Lyudmila Stefanovna.

Chapter 2

2.1. Characteristics of "Women's Prose" in the story of L. Petrushevskaya.

The stories and dramatic works of L. Petrushevskaya have been translated into many languages of the world, her plays are staged in Russia and abroad. Modern criticism calls her stories "new wave prose", because. they have a compositional and stylistic unusualness. The writer gives an original interpretation to eternal themes.

Petrushevskaya writes short but voluminous stories. Not deploying, but curtailing events, Petrushevskaya singles out in it, as it were, an insignificant episode and details that create a feeling of the fullness of life.

By genre, the writer's stories are miniatures, sketches. And the curtailment of the plot, its brevity, speaks of the enormous tension of the author's spiritual forces. Yes, and you can not remain calm when it comes to loneliness among people, homelessness, disorder of human destinies. One of the central images of her prose becomes a man entangled in himself and in the world - one of the dramatic symbols of our era.

The images created by L. Petrushevskaya were repeatedly sharply criticized. Indeed, the writer tends to portray predominantly the dark side of life. A person is completely equal to her destiny.

In accordance with the semantics of the stories, for Petrushevskaya, the fate of a woman (usually unhappy) is primarily important. In the center of her texts is She (Woman) and only then does He (Man) appear. This archetypal pair (He and She) acts under the influence of circumstances that are dictated by Fate. Petrushevskaya refers her heroines to a certain archetype: an unhappy Woman, a childless wife, an unloved wife, a single mother, etc. This is a fundamentally new archetype - a woman immersed in everyday (sometimes insoluble) problems, hardy, deeply lonely. Broken female destinies are the subject of artistic research by L. Petrushevskaya.

Femininity has been lost in the world of L. Petrushevskaya's stories. The place of the heroine is occupied by a creature tortured by everyday life. The author deliberately concentrates in his characters social evil (depending on external circumstances) and inexplicable, spontaneous evil. Petrushevskaya exaggerates the horrors of everyday life. L. Petrushevskaya explores the "prose" of life, life, devoid of spirituality, joy. After all, the author poses one of the main philosophical problems of the modern world - the problem of morality in the minds of modern man. Particular attention is paid to the phenomenon of alienation, soullessness and cruelty in human relationships. Love, sympathy, care, attention to a person disappear from our lives.

All the stories of Petrushevskaya carry a feminine view of the world: the way it exists now needs to be changed, this is a sick world. The "female look" is expressed in the ability to see the truth where in the everyday life of the "world of men" it is simply not noticed.

"Women's style" and in the speech behavior of the heroes of the works. Complex ways of speech design are due to the desire to more accurately convey the nuances of the heroine's inner world, the intricacies and complexity of thought. This is a kind of translation from the “language of thought” to the “language of words”. At the linguistic level, behavioral stereotypes of women are manifested.

L. Petrushevskaya shows that in the modern world there is a violation of gender stereotypes. A woman ceases to be the keeper of the hearth, a caring and wise continuer of the family. In the life of the heroines of L. Petrushevskaya there is a lot of bitter, merciless, they suffer from failed goodness, love, friendship, which reflects the crisis of society. Bringing the behavior of her heroines to the point of absurdity, drawing it on the verge of psychopathology, L. Petrushevskaya shows the tragedy of the position of a modern woman. The second source of conflict is the changed appearance of the male hero, who has lost the halo of superman, the protector. Such a hero looks weak and selfish. This is how a man appears before a modern woman. Violations of gender stereotypes lead to the loss of everything good, bright and conscious in the modern world. In this world, a child does not have a happy childhood. And out of this gray everyday childhood grows a weak, insecure adult. From childhood come the origins of the failed life of adults.

Most often, Petrushevskaya's stories are in the form of a story about an event on behalf of a woman. In the center of the story are family and everyday events surrounding the heroine.

The themes of Petrushevskaya's women's prose practically did not change throughout her work. Every topic she took on, whether it was death, illness, abortion, poverty, or other flaws in society, was revealed so fully and often with such physiological details that it becomes truly scary. Petrushevskaya deliberately does not embellish reality, painting life as it is. She is interested in the other side of life, devoid of joy and morality. First of all, she is interested in human relationships, their wrong side, clumsiness, soullessness and alienation.

Critics have always treated Petrushevskaya's female prose in two ways. On the one hand, they accused her of lack of spirituality and indifference, lack of good taste and even vulgarity. Others saw in her the amazing skill of a realist, able to subtly notice and express what others try not to notice.

Petrushevskaya's female prose is a collection of all sorts of illnesses, unthinkable suffering, flagrant injustices and other sorrows. She is not afraid to call a spade a spade. But at the same time, Petrushevskaya does not identify herself with the characters. She keeps her distance, keeping the distance consistently large. Her characters are spiritually disabled, incapable of normal human feelings. In the women's prose of Petrushevskaya, even love is mercilessly killed by the way of life and the miserable conditions of the existence of the characters.

2.2. Methodical techniques for writing a review in high school after reading the story "Waterloo Bridge" (1995)

The purpose of the lessons: to teach to analyze a prose work (to see the problems, assess its relevance, distinguish the author's style of writing, that is, be able to analyze the language, style, spatio-temporal organization of the text); learn to independently review a prose work of a small genre and thus prepare for a written exam in literature. To teach independent search, development of an independent position, the ability to defend one's opinion in front of an audience, find a partner in joint intellectual activity, develop common criteria in work, identifying a problem.

Information for the teacher. You need to take a week or two to complete the ahead of time homework. Preliminary preparation also includes a Russian language lesson, in which students get acquainted with the plan of essay-review 23, with reviews of contemporary critics (articles from the magazines Novy Mir, Oktyabr, Friendship of Peoples, from Nezavisimaya Gazeta).

On the example of V. Lipnevich's article "Farewell to Eternity", high school students worked out the following points of a future review: what the nature of the introduction might be, how strictly the plan should be followed, what should be written about, and what, in case of difficulty, can be omitted. They noted the philosophical nature of this introduction, its connection with the problems of the "Chernobyl Prayer". We paid attention to how the reviewer consistently defines the topic, the idea of the book, the goal of the author, gives a direct assessment of the read, speaking about the relevance and intended addressee; analyzes the form of the work; reveals the author's position in the text and completes the review with a high assessment of the role of S. Aleksievich in the modern literary process.

You can do exercise 341 from the textbook “Russian language. Grade 10-11 "A. I. Vlasenkov and L. M. Rybchenkova. The review cited here uses verbal clichés that can be useful for children who have difficulty writing: “The book attracts by its title...”, “the great merit of the book is that...”, “bribes the author’s confidential appeal to his reader”, “ in conclusion, we note ... ", etc.

The ultimate goal of the lesson is to write a review of L. Petrushevskaya's story "Waterloo Bridge". It is proposed to write this review as homework.

Students receive preliminary homework - collective, group and individual.

Collective tasks:

read the story;

be able to justify the impressions of the read work; determine your attitude: are you an angry critic or enthusiastic;

analyze the language of the story in terms of style (what language layers are represented); find neologism.

Group tasks (designed for three groups):

using reference literature, find a definition of postmodernism. What does L. Petrushevskaya's works have to do with postmodernism?

collect as much information about the author as possible; prepare a certificate of the work (time and place of creation and publication);

present a drawing that will depict the system of characters in the story “Waterloo Bridge” (there may be several options, but the best ones are pre-selected);

think about how the category of time is represented in the story. You can make a table by dividing it into three columns: past, present, future. You can imagine it as a line directed from left to right, from the past to the future. Sign the words from the text of the story that fix the time in the life of the heroine: what reminds you of the past? What does she currently have? What is in store for the future?

Two groups of students present positive and negative responses in the press to the work of L. Petrushevskaya.

Individual tasks:

prepare a certificate about the actor R. Taylor, actress Vivien Leigh, about the film "Waterloo Bridge";

find portraits of the heroine, find out if the means of their creation change from the beginning of the story to the end;

write out from the text phrases in which the word "life" is used, words with the same root and words close to it. Pay attention to the frequency of use of these words as the plot develops, as well as their connection with the images of the characters;

think about the relevance of the theme of the story and Petrushevskaya's work in general. She has her own audience, her work is in demand. What caused the interest? Why is it now finding its readers? (See creative biography.)

The lesson uses a tape recording of a waltz from the movie "Waterloo Bridge"

________________________________________

Course of lessons

Teacher. After reading the story, each of you has a certain opinion about the author, about the manner of his writing. Share your first impressions of the story you read.

Girls responses:

- Sad, sorry for the heroine...

- The heroine is too lazy to look for happiness.

- Why look if she was happy before her husband left?

- But their relationship has descended to the household level - what kind of happiness is there? Life is not spiritual.

- I believe in the reality of the characters: they reminded me of many close friends.

- Resentment against oneself: what do we do with parents!

- It is sad that the beginning of a "new life, a life-dream" was laid by an unreal person.

Young people's responses:

- I was surprised by the language of the story: as if not literary, but colloquial. They tell you a life story on a bench in the yard.

- The heroine evokes not just sympathy, but regret, since she has completely lost her human face in this life.

- It has nothing to do with me, so I didn't like it.

Teacher. The problem is stated: does what happens in Petrushevskaya's stories have anything to do with me? If we correctly understand the author's task, we will, I think, solve this problem. Let us turn to the epigraph written on the board:

Her prose is permeated........................ to people.

This is a phrase from an article dedicated to the work of Petrushevskaya. It is missing a keyword. I offer this phrase as an epigraph to these lessons, but for this you must fill in the gaps. The choice will need to be substantiated, to build a system of evidence for one's position, having worked out the scheme presented on the board "A work of art in the unity of form and content" 27, having worked through all the materials of these lessons.

This will be the content of the lessons. Subsequently, you will write an independent review of L. Petrushevskaya's story "Waterloo Bridge".

First learning situation Acquaintance with the writer and the heroine

What did you learn about L. S. Petrushevskaya?

Student responses.

- Very little, because she doesn't like to give interviews.

- Petrushevskaya Lyudmila Stefanovna is one of the prominent figures of the modern literary process, in whose work many characteristic features of Russian prose of the twentieth century were embodied.

- Prose writer. Playwright.

- Born in 1938 in Moscow. Graduated from Moscow State University. He has been writing prose since the mid-1960s, plays since the mid-1970s, and has been in print since 1972. In the early 1970s, she worked as an editor at Central Television. A performance based on the play "Columbine's Apartment" at the Sovremennik Theater in 1985 brought universal recognition. Laureate of the German Pushkin Prize (Hamburg, 1991) 28, prize of the magazine "October". She writes a lot and publishes frequently. A five-volume collection of works by L. Petrushevskaya has been published.

- Her work is referred either to "other prose" (and within it - to "natural prose" 29), or to postmodernism.

"Other Prose" brings together authors whose works appeared in the early 80s. Revealing the myth about man - the creator of his own happiness, they showed that modern man is entirely dependent on the domestic environment, he is a grain of sand thrown into the whirlpool of history 30.

Postmodernism has been talked about in literature as a phenomenon of the end of the 20th century. Writers of this trend are accused of everyday life with a bias towards decay, dramatization of reality, destruction of the idea of literature as a source of moral purity.

Sometimes the thorny arrows of critics fly at the address of L. S. Petrushevskaya. However, everyone admits that it is popular and that it has a large readership.

The heroes of Petrushevskaya are ordinary people, our contemporaries.

Whose face in the human stream stops Petrushevskaya's gaze? Who is she, the heroine of the story?

Woman 40-50 years old, lives without a husband, works as an insurance agent. Ordinary, ugly.

Teacher. The theme of the "little man", discovered by the humanistic literature of the 19th century, has found its continuation in modern prose. But it is passed through the value system of the writer Petrushevskaya, which we have to understand.

Second learning situation The world of the family and its meaning in the story

What do you think is the main value in the world of a woman? What are your associations with the word "house"?

On the board we write out the words-associations:

family hearth, family nest, comfort, peace of mind, warmth, peace, kindness, care, loved ones... A shelter where you can hide from troubles...

What can you say about Baba Olya's family? How does the heroine feel about her home?

“Nesting”, a small apartment, Baba Olya lives in the entrance room, sleeps on the sofa in the living room ... Everything reminds of the station. Fled from home.

Teacher. We attribute to the words written on the board the particle NOT:

NOT hearth, NOT cozy, NOT warm, NOT caring...

Why is this house uncomfortable?

Disunity. There is no love, no friendship and no respect for the past.

Students demonstrate drawings that graphically represent the system of characters in the story, go to the blackboard and give explanations for the drawing.

Variant of the 1st group.

Explanation for the figure.

The central part of the picture is the real woman Olya, the story begins with a story about him: two women deprived of fate live together - a mother and her adult daughter. There is no man in the house: the eldest has “a long time ago”, the younger one “sometimes comes, but sometimes he doesn’t”, “alimony”, “homeless”. Men tend to get away from home, they are not attached to the family. Once the support of the house was a professor, the husband of Baba Olya. After his departure, mother and daughter “drooped”, “it was painful to call somewhere, look for someone ...”, “everything was left to Baba Olya for no reason.” The misfortune did not unite the women: the daughter separated from her mother in her circle, a circle of the same, apparently, not settled in life, friends with whom she discussed life “using examples from personal practice” (the author’s irony is probably addressed to the uselessness, worthlessness of empty women’s conversations about life). Disunity is symbolically represented in the form of a multi-storey building: people are forced to live under the same roof (Baba Olya has a sofa in the entrance room).

On the left - the past, the youth of the heroine. Youth, music, love, the birth of a child are represented symbolically in the form of a figure of a man, a heart, a small child and notes. A small, cozy house, but it is boarded up, because there is no way to the past, and it was destroyed not only by time, but also by her husband-"outsider".

On the right is the world of dreams, the dreams of the heroine, an illusory world in which a loving man is next to her and beautiful music sounds. This world comes to life in front of her as soon as she opens the door of the cinema, so in the picture there is a theater building, notes, a man, a heart.

Three realities are indicated in the figure: the real past, the real present and the illusory one, that is, the dream world.

At the top of the picture, the clock is a symbol of inexorable time, which will not allow turning a dream into reality.

Variant of the 2nd group.

Explanation for the figure.

Three spaces: a house, a cinema where a foreign film is shown, and a dream world, an unreal world. Two women in the house are a mother and a daughter, fenced off from a loved one by a circle of her friends. There is no warmth, a cordial connection in their relationship, because the daughter "did not put a penny on her mother and fully justified the departed dad." The arrows are directed from the house, they symbolize the flight of men. One, Baba Olya's husband, left the house long ago; and the other, the daughter's husband (dashed arrow), "led a collateral existence." This is a house without men.

In the world of cinema, everything is different: here are two loving people, he and she, side by side. Moving into this illusory world, Baba Olya undergoes a kind of transformation. She in her imagination merges with the heroine of actress Vivien Leigh.

In the world of dreams (the territory of fantasy), one should also place a woman (Baba Olya, but transformed: “I saw myself young on the screen”) and a man (actor Robert Taylor).

And then it is easy to graphically represent one more space - the place where the strange meeting of Baba Olya and the "ghost" took place. Either somewhere near Ilyich's Zastava, or on Waterloo Bridge. We have a bridge that connects the real world and the world of illusion. Everything is possible here.

Variant of the 3rd group.

The students drew branches of a tree, on one of them there is a nest (they referred to the word “nested”), in it are “adult birds” - Baba Olya and her daughter, as well as “chicks” - grandchildren, on the branches below - fallen out of the nest - father and son-in-law.

Most of the students did not agree with this option, explaining their position by the fact that in the text of the story in the word “nested” the meaning “crowded” is updated, while the drawing evokes the association “family nest”, filled with a completely different meaning: “family comfort”, “warmth” which is contrary to the author's intent. In addition, another space does not find a place in the drawing - the world of cinema with its own system of characters, where it is completely inappropriate to use images of birds.

Teacher. The system of characters, a way of expressing the ideological and artistic intent of the author, reveals the writer's view of the artistic world he created, and, ultimately, the surrounding reality.

What does the system of characters in the story help to understand in the image of the main character?

The movement of the plot is associated with a change in the space around the main character. At first, she is surrounded by the everyday world of the family, she begins to be burdened by them and gradually “moves” into the illusory, virtual world.

Isn't the meaning of life in serving people? Why did the house, where "a thick home smell, children's voices in the kitchen," cease to be the meaning of her life? Who was she in it?

"She was used"... a victim...

Third learning situation Heroine transformation

Teacher. Do you agree with me that the category of time plays a meaningful role in the story (the question is addressed primarily to the 3rd group)?

A student of the 3rd group presents a table:

Past present Future

Represented by the "traces" of a man in the house: a handkerchief, huntsmen's underwear, plaid shirts. Husband is a professor, "outsider". In her youth, she lived with her husband and child in the Tmutarakan nature reserve, leaving her career as a singer for the sake of her family. It’s better not to look in the mirror ... She pounded at other people’s doors, asked to go inside ... Works as an insurance agent “... literally at the last step of life, on departure. ..” So, it is almost gone. The last phrase closes the circle of time determined for the life of Baba Olya. This is a kind of plot ring, if you connect it with the first phrase of the text: “Everyone has already called her who is “grandma”, who is “mother” ...”

We paid attention to the first and last phrases - a kind of ring: time completes the circle. Time is merciless to man, and Petrushevskaya is not going to hide this cruel truth from the reader.

What does the heroine look like now?

“Shabby”, “in a tattered coat”, “a meek bulging look from under the glasses, feathers on the head, a fat camp, a wide leg” ...

Why is it pathetic? Why does her daughter "not put a penny"?

Because the victim, because humiliated (abandoned professor's wife).

What is being sacrificed?

Her unique personality: a unique gift, a possible career...

Why such a portrait of the heroine? Why such a name? Why work as an insurance agent? What is life insurance for?

The author contrasts the inner world of the heroine with the outer one. Antithesis was used. Compare with the "portrait" of her soul: kind, devoted, inspiring trust and friendliness among outsiders, "honest and pure, like rock crystal." The naivete of the heroine is ironically emphasized by the author - out of date! As a rule, with age, a person loses the illusion of youth, sacrifices ideals in the name of life's conveniences and comfort. The process, alas, is natural for the majority. With Baba Olya - that's what's strange - this did not happen ...

The story of her life unwinds gradually, introducing the reader into amazement: a brilliant singer with a conservatory education, the wife of a professor and a woman Olya.

There are no insignificant details in the writer's artistic world. The combination hurts the ear: the rude “woman” seems to come into conflict at the phonetic level with the tender name “Olya”. This is not a random detail (there are no random details in the text). "Baba" is a view from the outside, this is how others see her. But she did not despair, humility did not come to her before the age that comes in old age: “She herself did not feel like an old woman, she still had a lot ahead of her.” She begins to write lofty poems, passion overtakes her, falls asleep happily, because her beloved appears in her dreams. From an insurance agent, she turns into a priest. To insure someone's life is to serve them (people's lives) financially, to insure against misfortunes. Her mission from now on is different: she brings spiritual knowledge to the world.

What is the movie that women want to get into? What are the romances that baba Olya sings about?

About love. The loss of a lover makes the further life of the heroine, played by actress Vivien Leigh, meaningless.

Why are the women crowding at the box office of the cinema disadvantaged?

According to the text: "... the grandmother also flew to this cinema early in the morning and now, destitute, she asked where the movie poster was hanging, obviously in order to get into another movie theater ...".

Where does this irrepressible, girlish passion for a foreign actor come from?

Shared with love. And men, husband, and children. First of all, the love of a man. In the film, he is reliable and devoted; in life, he is an "outsider" who abandoned his family. The passion for the film was born from the desire to interrupt the series of gray everyday life, the usual duties, to fill the void in the heart, to give unspent love. The screen gives a consoling fairy tale, but maybe this is not a fairy tale, but an ideal life, to which every human soul aspires? The cinema where the film is shown is called the Screen of Life. The author ironically warns us against sentimentalism.

Fourth learning situation Transformation as ascension

What compositional parts can be conditionally identified in the story? (Try to relate your observations to the author's intent.)

The exposition tells about the past of the heroine: "...everyone already called her ... "grandmother" ... lived without a husband a long time ago ... left ... and drooped ... with her daughter."

The exposition sets the theme of time inexorably catching up with the heroine: “... everyone already called her “grandmother”, someone “mother” ... "The "excursion to the past" ends with a ruthless look, as if from an outside observer: "Baba Olya was shabby." As a result of a failed life.

Part 1 - a story about the present, which is concentrated in the chores of other people's affairs, the fussy work of an insurance agent. The daughter's alienation, her own homelessness are the realities of the heroine's existence.

Part 2 begins with an event: Baba Olya's trip to the cinema, to a "foreign picture". The event is denoted by the word "suddenly". Suddenly, because for the first time she did something for herself. Suddenly, because I saw on the screen the face of actor Robert Taylor, "full of tenderness and care", I saw a life "which ... I did not live." She suddenly realized: what had filled her life until now was “rubbish”, “scum”, “foam”.

“And finally, Baba Olya finally decided in life” - this is the beginning of the 3rd part. A forgotten feeling of joy, a feeling of happiness returns to her life. Baba Olya behaves like a sixteen-year-old girl, her passion for the movie hero captured her. And hugs, and a devoted man nearby ... but - in dreams. There was a substitution: the real world turned out to be supplanted by the illusory world, the world of fantasy and dreams. Although one day they, reality and fantasy, will meet: the “unshaven, neglected” young man, who, with his unexpected appearance, frightened the woman Olya at Ilyich’s Zastava, will remind her with his “mustache” of the one who wandered in search of his beloved along Waterloo Bridge.

I would like to highlight the ending, because in the last paragraph the “point of view” changes, the tone of the narration changes, the text is filled with other vocabulary. It seems that the author reveals his face here. The fate of Baba Olya is already seen as if from eternity, the words sound sad that the circle of this life is almost completed. The story of an uncompleted female fate is filled with philosophical meaning, sounds like "the damned last question" why? ". What can justify sickness and death? The answer is suggested, although it does not sound directly: love. She is a protection from troubles, she seems to insure life.

If at the beginning of the last phrase there is still the vernacular “to drag around”, then the writer builds another verbal series: “beloved”, “the whole world”, “ghost”, “soul”, “on the fly”. From everyday life to being - this is the logic, as we see it, of building a story. The vertical means the possibility of ascent for the heroine.

Our observations must be substantiated, we must try to penetrate into the depth of subtext inherent in the genre of the story. Let's do a lexical analysis.

Reading the story, you noticed that some words are in italics: “that, his wife”, “hoping to forget that, the main thing”, “his torment. And, incidentally, her torment”, “lando”, “he”.

What unites these words?

“That, the main thing” is the world of happiness and love, which the heroine lost, left without a husband. “That woman” sounds not so much dismissive as it may seem, but rather bitter, because “that woman” is happy with Baba Olya’s ex-husband. In that house, even a boy was born, but here the world is without men (the gender of the grandchildren is not indicated - “children”).

Pay attention to the fact that the portrait of the heroine throughout the story is complemented by details.

What new colors does the writer bring to the portrait of Baba Olya, who has fallen into the sin of being tempted by an illusion?

It is important for the writer to convey change, transformation, and therefore she resorts not to epithets, but to verbs. Let's compare the descriptions of Baba Olya's life before and now, paying special attention to the words of this part of speech. Previously, she was “always fussing about someone, lugging around with bags”, “roaming around hospitals”, “stomping a lot and slapping through puddles”, “pounding at other people's doors, asking to come inside”. The transformation takes place in the soul, so you can notice it in the eyes: "Her eyes ... shone." In the portrait drawn at the beginning of the story, meekness (“a meek bulging look from under the glasses”) is emphasized, due to the habit of always sacrificing oneself; now, the radiance in her eyes is caused by a new need, a new attitude to life: “it was now necessary for her to bring happiness to people,” “and she experienced mother’s tenderness for rare recruits (recruits) ... and mother’s strictness.” Life has found meaning: her maternal feelings were also in demand. Expressively “reduced” evaluative words (they contain both rudeness, and sympathy, and an understanding of problems common to many) gave way to high-style words - a kind of movement from democracy (like everyone else) to being chosen (the word was suggested by the writer herself, cognate with “new recruits ").

It is worth paying attention to the heroine's remark: "... this does not concern anyone, this, finally, is only my business." A personality awakens in her, a new attitude to life, probably this is a healthy egoism, which she was completely deprived of in her former life. Not a young woman at all builds this new world, dreams like a sixteen-year-old girl, "happily falling asleep."

You can also notice how the pace of the heroine’s life has changed (verbs also “work”): if earlier, before realizing herself in a different way, after a hard day she “barely moving her feet ... crawled home”, now she “rushed ... caught ... struck up acquaintances ... things were moving forward ... rushed headlong ... ". Renewal manifested itself in a vigorous, youthful rhythm of life.

The subject of the image in the story, as we have already said, is the life of the “little man”.

The following questions are based on the pre-completed task.

How often do the word “life” itself and words close to it in meaning appear in the story? In what context do the word "life" and its synonyms occur? Are such observations significant in text analysis?

In the first part conventionally designated by us, the word "life" was found only twice: a discussion of life, family life and a verb with the same root twice in the past tense "lived". But in the second part - eight times, plus a synonym for "fate" and a participle with the same meaning of the root - "deprived". In the third part, the writer uses this word for the only time - “another life”. There is an explanation for this observation: at first the heroine does not think about life, because her concern is to survive (physically, finding a livelihood) after her husband leaves. With the advent of the film, the process of understanding life and self-determination begins, first with memories, comparisons of the ideal and real world (girl's dream, film novel and today's existence), then understanding that the arrangement of everyday life is not all life, at least it is not exhausted. And then Baba Olya made up her mind, rushing into fantasy with all her thoughts. Happiness reigns in the reserved place of her soul, there is even a place for poetry, because love gives birth to them, the writer finds a strong word - passion. To convince the reader of the uniqueness of private life and the right of any person to it, Petrushevskaya uses a contrast technique: happy tear-stained faces and underpants, left as a keepsake from her husband, in one phrase! There is no doubt about the superiority of one over the other.

Different understanding of the word is connected not only with the development of the plot, but also with the images of the characters. In the circle of my daughter's friends ... there was a broad discussion of life with examples from personal practice. We have already spoken about the ironic sound of this phrase. To discuss - to judge, to pass judgment. For what? Perhaps as a consolation to himself, a loser.

Practice and life - in the vicinity of these words, we first catch the irony, but then another understanding comes: a person is given, in his short life, to try to comprehend the meaning of life either practically, that is, to live without thinking, simply because he is doomed to live, or spiritually, trying to comprehend some higher laws by which the human community is organized and which fill life with meaning.

The daughter's husband... habitually led a side existence. It seems that the author emphasizes the irresponsibility of a man before his family. He does not value the house: "alimony", "homeless" (that is, homeless, homeless). And the husband of Baba Olya also left: "... spat, threw everything away," including "books on cinema." Perhaps the theme of the dissertation is connected with them, for the sake of which Baba Olya sacrificed her career as a singer? Studying the theory of cinema or trying to deduce the patterns of life's failures is a fruitless occupation, it did not fill either the life of the “outsider” or the life of his daughter with higher meaning. By the way, he is a professor, she is a teacher. An interesting and, again, not an accidental pattern: they try to teach others, not at all being an example of moral perfection. Baba Olya lived without a husband, on the screen she saw the life that for some reason she did not live.

And only screen life, that is, fake, invented, "was full of love."

What phrase can be called the key to understanding the idea of the story?

"The heroine was dying, as we all die, in poverty and disease, but on the way there was a waltz by candlelight."

The teacher reads this amazing, poetic phrase to the tune of the waltz that sounded in the movie "Waterloo Bridge".

Teacher. Yes, this is the key phrase of the story. There is no place for irony in it, it sounds serious, poetic and tragic at the same time.

Not a vain existence, but a waltz by candlelight - beauty and love that will justify the inevitable suffering. So at the lexical level, we notice the same vertex construction (from "low" to "high" vocabulary) as in the composition of the story.

What transformation of the heroine happened? Why did this happen to her?

- She learned to love herself, gained self-esteem...

- The dream world became more important for her than all other things, in it she was protected from adversity by the love of a handsome and strong man...

- In the world of fantasy, she was the Heroine - a woman, a person...

- The transformation happened precisely with her, and not with her daughter, whose fate is close to her own (the reception of parallelism is not accidental here - the outputs are different), because Baba Olya knows how to understand people, she is kind to them.

- The heroine is a person from the crowd and at the same time unique. Her disinterestedness, probably, seemed like an eccentricity to others before, because the author emphasized that she went to relatives, hospitals and graves alone. Among the fans of Robert Taylor, it is she who becomes the priest. In addition, she has a conservatory education, she was introduced to art in her youth, therefore, in moments of spiritual uplift, she sings romances and writes poetry.

Teacher. Summarizing the observations concerning the character of the heroine, we came to the conclusion that she is a person who has felt the value of her own personality; she seeks to recreate reality in her imagination; looks at life "through the prism of the heart." Passion for the film is an interest in a bright, exotic (that's for sure - “not typical for this area”, as the explanatory dictionary 31 interprets the meaning of the word) world, where lovers drive around in a landau, where a man is devoted to a woman. An unattainable ideal!

Fifth learning situation Features of creating artistic reality

What creative method is characterized by the features of creating artistic reality listed above?

Characteristic of the romantic type of creativity 32.

Teacher. Let's try to define the work of L. S. Petrushevskaya within the framework of the literary movements of realism and romanticism known to us.

What other arguments in favor of one or another artistic method can you find?

The hero's loneliness is a romantic trait.

The writer is more interested not in social conditioning, determinism of character, but, on the contrary, in the ability of the soul to fly in spite of everything.

The end of the story is very important in understanding the author's concept of the world and the person in it. The sad young man who met Baba Ole at Zastava Ilyich is a strange character in the story. If we offer a realistic motivation, then his appearance on the night street and an absurd question can be interpreted quite simply (as the woman tries to explain to herself at first): a tramp, possibly mentally ill. But, perhaps, at this point in space, two worlds intersected - real and fantasy? In whose consciousness two points of space - Zastava Ilyich and Waterloo Bridge - were connected? The bitter-sounding last words of the story do not seem to belong to the consciousness of the heroine. This is the pure voice of the author, and then “yearning, unshaven, but with a mustache”, indeed, a ghost is a phenomenon not of this world, but of the other world, the one where they are already waiting for Baba Olya, because her life is flying away. The author ends the story on a tragic note. The world created by Baba Olya is very fragile, with her departure it will cease to exist - such is the inexorable truth of human existence.

It can be assumed that the young man is a character-quote. Why does he ask about the size of the foot? Is it not the plot of Cinderella that the writer wants to remind us of? Everything is ridiculous: the size of the foot is 39, not at all small, and there is not a shoe on the foot, but an orthopedic boot, and the behavior of an elderly woman singing a romance at night is ridiculous - to look from the side. And at the same time, a naive belief in goodness, the expectation of happiness, selfless diligence, the appearance of a godmother, a messenger of another world - one can find parallels in the plot of a fairy tale and a story. But the meeting with the prince will no longer happen: Cinderella has grown old and knows something, not the best, about this world. That's why she ran away in fear.

Why the exact indication of the time of action - 1954 - at the very end of the story?

It's hard to explain, one can only speculate. If it weren’t for the portrait detail (Baba Olya is dressed in the “fashion” of the post-war years: a fur cap with an elastic band, a coat of blue gabardine with silver fox) and an indication of the exact date, the reader would not have guessed that the action takes place half a century ago, everything is so typical and for our time. The problem of escaping from reality probably appeared simultaneously with the advent of art, and for the 20th century with the invention of cinema - the most massive form of art - it is especially relevant. But the reader knows something else: the heroine lives in the Soviet Union. In 1954, she could meet one of those restless people at Zastava Ilyich who, over the long years of completely unromantic wanderings, lost everything, lost all illusions.

And the loneliness of women was associated primarily not with the lack of masculine qualities in the character of men, but with the lack of the men themselves, who died in the war, in the camps. However, telling the fate of Baba Olya, the writer did not say a word about the terrible events that the country was going through, which could not pass even the professor's wife. So is the heroine typical or exceptional? To live in the reserve without hearing gunshots - is it possible? Is the life of the soul beyond time and space? But at the same time, a detailed description of some household details. It is as if we are looking at an old photograph that captures a moment in the life of people of that generation, together with a witness to the events, who, slowly, tells about what happened.

Teacher. The subtext of the story includes many meanings that each of you can reflect on in your review.

When considering a review, one cannot help but pay attention to the language of the story. Let's not make discoveries, but listen to what critics have to say about this 33.

Lebedushkina O. The Book of Kingdoms and Opportunities // Friendship of Peoples. - 1998.- No. 4.

The stereotype of naive perception is pieces of "raw" speech, overheard somewhere and recorded by hand or on tape ... a kind of speech naturalness arises. If we talk only about poetics, then there is nothing shockingly new in it: the same skaz, verbal, “primitive” word of Zoshchenko, Oberiuts, Lianoz, the same Gogolian syntax that goes beyond the limits of the possibilities of prose ...

Viren G. Such love // October. - 1989. - No. 2.

This prose only seems to be a tape recording of street chatter, in fact, the author achieves such an impression with considerable skill. Petrushevskaya's original prose grew up at the intersection of a modern simplified and even vulgarized language and rich literary traditions.

Kudimova M. Living is dead // Book Review, Ex libris NG. - 1997. - December 4.

Zoshchenko's language, his intonation reproduces ... like a parodist-imitator.

Lebedushkina O. Tail of a lizard. Two attempts to read Lyudmila Petrushevskaya.

Writers who gravitate toward a humanized language - to speech, to fairy tale forms, sooner or later begin to arouse suspicion even among the most sophisticated reader, who knows how to unmistakably engage in the proposed artistic game. The more speech naturalness the writer achieves, the stronger the feeling of a catch: as if the author deliberately fools the audience, without making any necessary efforts to process the material, without which, as you know, there is no “art”, but simply slips pieces of “raw” speech overheard somewhere something written by hand or on tape, that is, "the master's notebooks."

Teacher. The work of L. Petrushevskaya is diverse, many-sided, she "fools" not only readers, but also critics, forcing them to argue with each other in an attempt to "attribute" her to one or another direction or trend. Not all of them agree to attribute L. Petrushevskaya's work to postmodernism. Let's listen to the opinions of literary critics to agree or disagree with them.

Two groups will present their homework: positive responses in the press to the writer's work and negative ones (editing). In a review, arguing with an imaginary opponent can be a good start or conclusion.

Lebedushkina O. The Book of Kingdoms and Opportunities // Friendship of Peoples.-1998.-No. 4.

Petrushevskaya is an artist of everything “that shines through and secretly shines”, and therefore humility and the scarcity of external forms do not deceive her, the ugliness, unaesthetic nature of human life does not frighten her. Life is clumsy, like everyday speech.

Toropov V. Hangover in someone else's feast // Star. - 1993. - No. 4.

She paints life itself with truly unsurpassed ruthlessness and nakedness... There is an opinion that Petrushevskaya not only dramatizes life to the utmost, but also dramatizes it excessively.

Kudimova M. Living is dead // Book Review, Ex libris NG. - 1997. - December 4.

Petrushevskaya today remains the most unprincipled Russian writer... Her work is deeply comatose. A coma excludes vital activity... Petrushevskaya's prose is an absolutely black body.

Shcheglova E. Into the darkness - or nowhere? // Neva. - 1995. - No. 8.

I do not agree with the ecstasy of decay that reigns in her, in which a person is tired. This path is powerless, hopeless. And with its impotence reminding once again that the basis of being is still not life, but spirit.

Prusakova In. Immersion in darkness // Neva. - 1995. - No. 8.

Petrushevskaya has enough spirit and strength to knock on the doors of all happy (= prosperous) people according to Chekhov's testament. Her hero is the death of hearts.

Vasilyeva M. So it happened // Friendship of peoples. - 1998. - No. 4.

Strange as it may seem, Petrushevskaya's final retreat into postmodernism is hindered by spiritual construction, from which postmodernism is absolutely free.

Teacher. Look at the caption written on the blackboard:

Her prose is permeated .............. to the people.

What word would the critics who negatively assessed her work insert, how would those who positively assessed her fill the gap?

- ... cruelty, dislike for people.

- ...compassion for people.

What convinced you the story? Does the issue you raised apply to you?

In a second opinion. The miserable, hopeless, kind of miserable life of the heroine does not cause ridicule or condemnation (what can she do?), but sympathy. But also a protest: a person should not live his one and only life like that! The problem of loneliness and the search for a "cure" for it (and even more so loneliness in his declining years) can affect anyone.

Teacher. You have taken place as readers of modern prose, now you have to try yourself as reviewers. Perhaps the choice of this story can be disputed: it is atypical even in a series of stories in the Waterloo Bridge cycle, "too light." But, I think, we were going in the right direction in understanding the writer's creed of our contemporary writer L. S. Petrushevskaya; It is no coincidence that she put this title on the cover of the collection.

Homework: write a review of L. S. Petrushevskaya's story "Waterloo Bridge" (a week is allotted to complete the task).

Review

1. Presentation of the work: author, title, place and time of creation and publication.

2. General characteristics, a brief retelling of the plot with the selection of its elements: plots - developments of the action - climax - denouement.

3. Analysis of content and form.

Content:

a) topic, problem and main idea;

b) a system of images, including the image of the author, narrator; skill in character portrayal;

c) the role of the title and epigraph;

d) features of the genre.

Form:

a) the role of landscapes, portraits, insert episodes;

b) features of language and style.

4. Determining the place of the work in the work of the author and in the literary process as a whole.

5. General assessment of the work, personal impressions of the read. Attracting the reader's attention to the reviewed work.

6. The relevance of the topic at the time of the creation of the work and in our days (wishes to the author if he continues to work).

Conclusion

Thus, summarizing all of the above, we can say that the work of L. Petrushevskaya, despite its apparent simplicity, is very multifaceted. The few studies presented in the form of magazine and newspaper articles, reviews, which previously considered her work, do not give a full assessment of the work of L. Petrushevskaya. Someone refers it to the "other prose", some to postmodern literature. Appearing in the late 60s and early 70s, the work of L. Petrushevskaya did not immediately find its reader, largely due to the resolution of A. Tvardovsky.

Books mainly make up the so-called “women's prose”, “social prose”, but it is distinguished from mass prose primarily by the unusual nature of the narration, when the fate of people is depicted in a short space, their characters, if not in deep disclosure, but one detail is noticed. To reveal the author's intention, the writer uses various techniques. The image of the narrator, the language of the work helps to reveal this. It is no coincidence that her books are now used by many linguists and ordinary school teachers in terms of studying vocabulary. ("Puski Byatye"). But in almost all works, the theme of the “little man” is traced, which is so actively used in the work of classic writers. Let this topic undergo changes in the course of the reassessment of the value system of L. Petrushevskaya herself. But she does exist, which puts the writer on the same footing with venerable writers. The work of L. Petrushevskaya is difficult to perceive, therefore her works should be studied at a later stage in the formation of the student's personality. In particular, to prepare for the exam, writing part "C", which contains questions on finding examples from life or from read works of art. Petrushevskaya's stories are a vivid example of this, as everyday descriptive works that tell about the lives of ordinary people who find themselves in various situations that are not uncommon in our fate.

This literature has undergone both the fall of the USSR and the birth of a new democratic system in the history of our country, but the work of L. Petrushevskaya is still relevant today. Her works are staged, published in new literary magazines, in collections for children. I believe that it is necessary to study her works, but to study them in an overview, in the context of the era, touching on individual works, as suggested by the author of the textbook for grade 11 V.G. Marantsman.

Bibliography

Bavin S. Ordinary stories: L. Petrushevskaya. Bibliographic essay. - M., 1995. - 37 p.

Bogdanova O.V. Postmodernism in the context of modern Russian literature (60-90s of the XX century - the beginning of the XXI century). SPb., 2004.

Zhelobtsova S.F. Prose of Lyudmila Petrushevskaya / Yakut. state unt im. M.K. Ammosov. - Yakutsk, 1996. - 24 p.

Leiderman N., Lipovetsky M. Modern Russian literature. In 3 books. Book 3: At the end of the century /1986-1990s/. M., 2001.

Nefagina G.L. Russian prose of the late XX century: Textbook. M.: Flinta: science, 2003.

Internet resources: siteLibrari. en. adyta. en