COMPOSITION

on the topic "Reflection" tragic conflicts in the fates of the heroes of works about the civil war (work of choice)"

The novel "War and Peace" tells about the Civil War of one thousand eight hundred and twelve, that is, the war with Napoleon Bonaparte. In this Civil War, a lot of lives were lost. Napoleon went to the last, he wanted to own Moscow, but he did not succeed, since it was not such that Russia would give up its possessions to anyone. The main character of this novel, A. Bolkonsky, previously dreamed of the battle that is described in the novel, but he simply did not want to believe in this dream, he believed that it was just a dream, and nothing more. When Bolkonsky himself participated in this battle, he also did not think that it was a dream, and could not even imagine that Napoleon himself would forgive him in the battle and that he would die in this battle. The novel "War and Peace" reflected the tragic conflict between A. Bolkonsky and Napoleon. When Napoleon wounded A. Bolkonsky, lying on his stomach bleeding, he did not help him in any way: not morally, not physically, he simply laughed wildly at his pain in the wound. They didn’t know what they both wanted, either to prove themselves in battle, or to win in battle. Probably neither one nor the other. A. Bolkonsky and Napoleon simply did not understand each other. The civil war completely turned their lives upside down. The death of A. Bolkonsky turned N. Rostova’s whole life upside down, although N. Rostova was L. N. Tolstoy’s most beloved heroine. Because N. Rostova loved A. Bolkonsky very much. Napoleon and Bolkonsky spent their whole lives in conflicts. The Civil War added even more problems to both Napoleon and A. Bolkonsky, especially Bolkonsky himself. A. Bolkonsky wanted to destroy Napoleon, and for this he sacrificed his life, for the sake of his Motherland. He still did not become a scoundrel even when he was face to face with his death. He won anyway, and did not give them his homeland - Moscow: to the scoundrel Napoleon. Many people left their lives on the battlefield, but they died heroically, they fought for their Motherland: “Guys, Moscow is behind us, are we really going to give it to the French,” that is, the Russian people have never had anything like this, and never will. They are patriots of their Motherland and have always been so. Kutuzov also fought against Napoleon, and also defended Moscow. Kutuzov did everything so that Moscow would not fall to Napoleon. There is also a kind of conflict between Kutuzov and Napoleon. They also did not understand each other, just like Napoleon and A. Bolkonsky, but Kutuzov knew better what he wanted. He decided that he would defend Moscow. Kutuzov is an experienced commander. This is not his first time in battle, and A. Bolkonsky has not yet gained enough experience in order to defend his homeland, but Bolkonsky also showed himself with the best side, he did not “run away” from the battlefield, he fought to the end, no matter what happened next. The Civil War of one thousand eight hundred and twelve went down in history. And everyone should know that this war took place in the year one thousand eight hundred and twelve, who won it and who led it, that they gave all the credit to their Russia. What was the goal in this war. That it was not for nothing that the Russians took part in it. No wonder A. Bolkonsky left his life on the battlefield for his homeland. Moscow was burned by Napoleon because it was made of wood, because it was then forbidden to build buildings from brick. All the names went down in history who died in the Civil War, because those who left their lives in this war. Not everything is forgotten. Maybe someone doesn’t remember the heroic deeds that were committed for the sake of the Motherland, for the sake of their Russia, that not everything is for a reason. Someone thinks that everything is nonsense, that there was no war at all in 1812. This is all nonsense. Those who are interested in history know that the war was in 1812.

Literature: 2 (two)

Hero of Poetry The basis of his poetry is the traditions of folk poetry: a focus on colloquial language, not complicated by metaphors and poetic figures; use of apt folk word, proverbs, sayings, introduction to verse of stable poetic turns of folklore.

From folk poetry Some constant motifs entered Tvardovsky’s work, for example, the motif of the road, the House, the hero’s trials on the path to happiness or to the goal. We can also talk about the deeper influence of folk poetry on Tvardovsky’s poetry. This is reflected in those worldview principles that form the basis of the hero’s image and determine his character: traditional peasant values, folk morality, people’s attitude towards work. Such qualities determined the true nationality of Tvardovsky’s poetry.

Great Patriotic War During the Great Patriotic War Patriotic War Tvardovsky’s poetry combines journalistic intensity, lyrical emotionality, and an epic view of events. Poems from the war period are collected in the collections “Retribution” and “Front-line Chronicle”.

Tvardovsky's war poetry did not differ thematically from the work of other poets. The main themes are the unconquered Motherland (“To the Partisans of the Smolensk Region”), the high courage and patriotism of the Soviet soldier (“When you walk the path of the columns...”, “Border,” “New Year’s Word”), sacred revenge (“Retribution”).

Tvardovsky's post-war poems are filled with a philosophical understanding of time. The poet talks about the meaning of life and creativity (“No, life has not deprived me...”, “Confession”), about the honor of man, about the connection of man with nature (“Conversation with Padun”, “The snow will darken blue...”). By the end of the 1960s, Tvardovsky understood a lot and rethought: ...willingly or unwittingly It happened, it turned out wrong, wrong.

He perceives the history of the Soviet country as a harsh experience that future generations must take into account. He judges himself and his peers from high moral positions, understands that the poet’s duty is to tell the truth, “no matter how bitter it is.” Tvardovsky considers it necessary for every person to do everything to correct mistakes in life.

Tvardovsky feels tragically guilty for what is happening in our country. He lyrically analyzes his own biography, and through it the biography of the entire generation, rises to a philosophical understanding of “cruel fate”: I know it’s not my fault that others did not come from the war, that they, some older, some younger, remained there , and it’s not about the same thing, That I could, but failed to save them, It’s not about that, but still, still, still...

General themes late creativity me and the world, me and the path of life, me and death, me and the people. This is the experience of learning through self-knowledge. In the lyrical cycle “In Memory of Mother,” the poet travels in memories with his mother along the roads of her life and the entire people. The motif of the connection of times organizes the entire cycle and merges with the motif of the House, the origins. Memory is inherent not only to humans, but also to nature.

In the poems “How uncomfortable these pine trees are in the park...”, “Lawn in the morning from under a typewriter...”, “Birch”, the memory of nature is a metaphor for the connection of everything in the universe, an expression of unity. The poet acutely feels the end of the personal existence of an individual, the moderation of life. But the commonality of everything in the world, the fluidity of time make it possible to overcome this finitude, to find continuation in descendants, in the rustling of trees, in the blizzard whirlwind.

The tragedy of the inevitable end is enlightened by the consciousness of the futility of life (“We say goodbye to our mothers...”, “The time is soon for reprisals”). From stating the facts of socialist construction through understanding the people's soul during the war, Tvardovsky came to a philosophical understanding of the life and fate of man and country.

One day. Is this a lot or a little? Everyone sets their own regime. But not in totalitarian state. You can re-read a lot of history books, encyclopedias and just textbooks to find out how people lived in an authoritarian country. But to feel this, you need to read the work of A. I. Solzhenitsyn. The truth cannot be made up. It can be written off from reality. And all other camp works pale in comparison to the work of the author who survived this horror.

Always camp literature is different deep feeling social upheavals, she is never alone. It did not become such in A.I. Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich,” despite the fact that it describes a seemingly fragmentary piece of the life of an “ordinary” prisoner. No, those prisoners are not “ordinary”, they all do not have numbers on faded sweatshirts, but their own private lives and behavior patterns, personal lives before the zone and the same dream for everyone: to return home. How could Solzhenitsyn so restrainedly, but without holding his mouth, describe the story of one prisoner (himself?) and everyone else, but with pain and a suppressed groan of the soul?

Solzhenitsyn, while studying in his fourth year at the Faculty of Physics and Mathematics of Rostov University, simultaneously entered MIFLI as a correspondence student. At this time he was seriously interested in literature and also studied at courses in English. In 1941, like everyone else, he was mobilized and later in 1942 he went to the front. With his battery suppressing enemy artillery, he marched from Orel to eastern Prussia. And then in February 1945, censorship discovered sharply critical reviews of Stalin’s personality in Solzhenitsyn’s correspondence, for which the writer was arrested and received a prison sentence of 8 years. The wanderings began: Kaluga outpost, research institute (sharashka), general work in the camps of Kazakhstan. After his release, he lived for about three years in the south of Kazakhstan, then moved to the Ryazan region and worked as a mathematics teacher in a rural school. This autobiographical moment is presented in the story “ Matrenin Dvor" And 1962 magazine " New world", whose editor at that time was A. T. Tvardovsky, published the story "One Day in the Life of Ivan Denisovich." In recent years, Solzhenitsyn's novels and short stories have also been published.

The figure of this writer stands out noticeably against the background of 20th century literature as a whole. Solzhenitsyn took a special place not only in literature modern Russia, but also in its spiritual culture. Solzhenitsyn’s fate, embodied in the fates of the heroes of his works, merged with pain and resentment for the country, is worthy of veneration in the civil consciousness of society. Solzhenitsyn himself became the embodiment of the moral authority and conscience of the nation.

In the minds of the average reader, the name Solzhenitsyn is usually associated with the reflection and development of the camp theme with the characteristics and criteria of real, genuine “truthfulness,” “exposure of totalitarian violence,” and “historical authenticity.” All this is true. But with the story “One Day in the Life of Ivan Denisovich,” he opened a new world for readers and had an unprecedented impact on the minds and souls of his contemporaries. Camp theme under his pen is not limited to suffering in the zone. The works were supposed to convey to the reader not so much the everyday life of the camp as they were to present literary lesson. The state machine twisted destinies, redrew maps, displaced entire nations, exterminated thinking intelligentsia, destroyed science (for example, genetics). What could fate mean for her? individual? So, main theme The story is the theme of the fate of Russia.

Shukhov Ivan Denisovich - ordinary soviet man, village man. He lived, fought at the front, was surrounded and, as a result, captured - miraculously managed to escape. During his captivity he was accused of treason and espionage for fascist Germany. If you want to live, slander yourself, but you’re tired of it, so defend your truth, which no one needs... It’s a camp life, but life... Now he’s just a number. Despite this, Shukhov is endowed by the author with “normality”, non-flamboyant behavior, perseverance, and most importantly, indestructible inner dignity. He never “drops himself.”

Shukhov represents the people's character - he does not know how and does not want to complain about hardships, but, on the contrary, is able to settle in a deliberately unfavorable environment. He is a dexterous person: he managed to wind up his trowel, hides pieces of aluminum wire, and has a folding knife. Shukhov survives in the zone as an individual. Next to Ivan Denisovich there is Alyosha, a Baptist who received a 25-year sentence for his faith. Two Estonians live and work, also serving 25 years for the fact that one is a fisherman from the coast, and the second was taken as a child to Sweden, but returned to his homeland and was immediately taken in as a foreign agent. And then there is Tsezar Markovich, brigadier Tyurin - excellent in combat and political training, but the son of a kulak, Yu-81, who “has been in camps and prisons for countless times.” Soviet authority stands”, and “Mongrel Fetyukov”.

Solzhenitsyn describes only one day of a political prisoner, but we see so many broken destinies and ruined, innocent people human lives. There are hundreds of thousands of prisoners, who in the overwhelming majority were not at all guilty of what the Soviet authorities accused them of, which they served both in freedom and in the camp. And arbitrariness and impunity reigned in the camp. Under these conditions, the strong, like Shukhov, survived and were respected, and the weak, as a rule, died.

Solzhenitsyn closes the circle in the artistic topography of the story, that is, the work has ring composition, which gives it symbolic meaning. Prisoner's view: circle surrounded by barbed wire; Spotlights are blinding from above, depriving them of air, sky, horizon; in the morning they go to a point - their place of work, and in the evening they return back to the barracks. And so every day, as if in a vicious and damned circle. As a result, prisoners do not have a normal life. But they have their own inner world, a space of memory in which images of the village, the world appear...

Solzhenitsyn, using a number of proverbs and folk beliefs, refrains from loud words and displays of emotions. He does not allow expression: it is enough for the reader to feel these feelings in his own soul. And this is the writer’s goal, which is achieved and guaranteed by the entire narrative. Solzhenitsyn, having independently experienced this nightmare, which lasted not only eight camp years, but also 70 years of communist totalitarian times, told readers about the slavery of prisoners, about the humiliations human dignity that in a totalitarian state a person cannot be free. And that means happy. The camp is a copy of reality. And the whole Soviet reality was one big camp. And the people in it were all equal - all imprisoned in the cruel framework of authoritarianism and the cult of personality.

Literature of the 50s–80s (review)

Death of I.V. Stalin. XX Party Congress. Changes in the social and cultural life of the country. New trends in literature. Topics and problems, traditions and innovations in the works of writers and poets.

Reflection of the conflicts of history in the destinies of the heroes: P. Nilin “Cruelty”, A. Solzhenitsyn “One Day in the Life of Ivan Denisovich”, V. Dudintsev “Not by Bread Alone...”, etc.

New understanding of the problem of man in war: Yu. Bondarev " Hot Snow”, V. Bogomolov “Moment of Truth”, V. Kondratyev “Sashka”, etc. Study of the nature of feat and betrayal, philosophical analysis human behavior in an extreme situation in the works of V. Bykov “Sotnikov”, B. Okudzhava “Be healthy, schoolboy”, etc.

The role of works about the Great Patriotic War in the education of patriotic feelings of the younger generation.

Poetry of the 60s . Searches for a new poetic language, form, genre in the poetry of B. Akhmadullina, E. Vinokurov, R. Rozhdestvensky, A. Voznesensky, E. Evtushenko, B. Okudzhava and others. Development of the traditions of Russian classics in the poetry of N. Fedorov, N. Rubtsov, S. Narovchatova, D. Samoilov, L. Martynov, E. Vinokurova, N. Starshinova, Y. Drunina, B. Slutsky, S. Orlov, I. Brodsky, R. Gamzatov and others.

Reflection on the past, present and future of the Motherland, statement moral values in the poetry of A. Tvardovsky.

« Urban prose» . Subjects, moral issues, artistic features of the works of V. Aksenov, D. Granin, Yu. Trifonov, V. Dudintsev and others.

« Village prose» . A depiction of life in a Soviet village. Depth, integrity spiritual world person, bound by life with the land, in the works of F. Abramov, M. Alekseev, S. Belov, S. Zalygin, V. Krupin, P. Proskurin, B. Mozhaev, V. Shukshin, etc.

Dramaturgy. Moral issues plays by A. Volodin “Five Evenings”, A. Arbuzov “Irkutsk History”, “Cruel Intentions”, V. Rozov “In good hour", "The Wood Grouse's Nest", A. Vampilova, "Last Summer in Chulimsk", "Eldest Son", " Duck hunting" and etc.

Dynamics of moral values ​​over time,anticipation of the danger of loss historical memory : “Farewell to Matera” by V. Rasputin, “Stormy Stop” by Ch. Aitmatov, “Dream at the Beginning of Fog” by Y. Rytkheu and others.

Trying to evaluate modern life from the perspective of previous generations: “Sign of Trouble” by V. Bykov, “Old Man” by Y. Trifonov, “Shore” by Y. Bondarev, etc.

Historical theme in Soviet literature . Resolving the issue of the role of personality in history, the relationship between man and power in the works of B. Okudzhava, N. Eidelman,

V. Pikulya, A. Zhigulina, D. Balashova, O. Mikhailova and others.

Autobiographical literature. K. Paustovsky,

I. Ehrenburg.

The growing role of journalism. Journalistic focus works of art 80s. Appeal to the tragic pages of history, reflections on universal human values.

Magazines from this time,their position. (“New World”, “October”, “Banner”, etc.).

Development of the fantasy genre in the works of A. Belyaev, I. Efremov, K. Bulychev and others.

Author's song. Its place in the historical and cultural process (meaningfulness, sincerity, attention to the individual). The significance of the creativity of A. Galich, V. Vysotsky, Y. Vizbor, B. Okudzhava and others in the development of the genre of art song.

Multinationality of Soviet literature.

A.I. Solzhenitsyn. Information from the biography.

« Matrenin Dvor» *. “One day in the life of Ivan Denisovich.” A new approach to depicting the past. The problem of generational responsibility. The writer's reflections on the possible ways of human development in the story. The skill of A. Solzhenitsyn - a psychologist: the depth of characters, historical and philosophical generalization in the writer’s work.

V.T. Shalamov. Information from the biography.

« Kolyma stories» .(two stories of your choice). The artistic originality of Shalamov's prose: absence of declarations, simplicity, clarity.

V.M. Shukshin. Information from the biography .

Stories: "Weirdo", « I choose a village to live in», « cut off», « Microscope», « Oratorical reception» . A depiction of the life of a Russian village: the depth and integrity of the spiritual world of the Russian person. Artistic Features prose by V. Shukshin.

N.M. Rubtsov. Information from the biography .

Poems : « Visions on the Hill», « Autumn leaves» (You can choose other poems).

The theme of the homeland in the poet’s lyrics, acute pain for its fate, faith in its inexhaustible spiritual powers. Harmony of man and nature. Yesenin traditions in Rubtsov’s lyrics.

Rasul Gamzatov. Information from the biography.

Poems: « Cranes», « Horsemen quarreled in the mountains,it happened...» (you can choose other poems).

The soulful sound of the theme of the homeland in Gamzatov’s lyrics. Parallelism technique that enhances semantic meaning eight-line. The relationship between the national and the universal in Gamzatov’s works.

A.V. Vampilov.Information from the biography.

Play « Provincial jokes» ( You can choose another dramatic work).

The image of an eternal, indestructible bureaucrat. Affirmation of goodness, love and mercy. Gogolian traditions in Vampilov’s dramaturgy.

Russian literature recent years (review)

Foreign literature (review)

J.-W. Goethe.« Faust» .

E. Hemingway.« The Old Man and the Sea» .

E.- M. Remarque.« Three comrades»

G. Marquez.« One Hundred Years of Solitude» .

P. Coelho.« Alchemist» .

Works for discussions on modern literature

A. Arbuzov « Years of wandering» .

V. Rozov « Looking for Joy» .

A. Vampilov « Last summer in Chulimsk» .

V. Shukshin « Until the third roosters», « Duma» .

V. Erofeev “Moscow – Petushki”

Ch. Aitmatov. “The White Steamer” (After the Fairy Tale)”, “Early Cranes”, “Piebald Dog Running by the Edge of the Sea”.

D. Andreev. "Rose of the World"

V. Astafiev. "The Shepherd and the Shepherdess."

A. Beck. "New appointment."

V. Belov. " Carpenter's stories", "The year of the great turning point."

A. Bitov. "Georgian Album".

V. Bykov. “Roundup”, “Sotnikov”, “Sign of Trouble”.

A. Vampilov. "Eldest Son", "Farewell in June".

K. Vorobiev. "Killed near Moscow."

V. Vysotsky. Songs.

Yu. Dombrovsky. "Faculty of unnecessary things."

V. Ivanov. “Primordial Rus'”, “Great Rus'”.

B. Mozhaev. "Men and women."

V. Nabokov. "Luzhin's Defense"

V. Nekrasov. “In the trenches of Stalingrad”, “A little sad story”.

E. Nosov. “Usvyatsky Helmet Bearers”, “Red Wine of Victory”.

B. Okudzhava. Poetry and prose.

B. Pasternak. Poetry.

V. Rasputin. “Farewell to Matera”, “Live and Remember”.

V. Shalamov. “Kolyma stories.

Poetry of the 60s–90s and last decade(A. Kuznetsov, N. Tryapkin, G. Aigi, D. Prigov, V. Vishnevsky, etc.).

Sample essay topics

XIX century

Social and political situation in Russia at the beginning of the nineteenth century. The influence of the ideas of the Great french revolution for the formation public consciousness and literary movement.

Romanticism. Social and philosophical foundations its occurrence.

Moscow Society of Philosophers, its philosophical and aesthetic program.

Basic aesthetic principles realism. Stages of development of realism in the 19th century.

K.N. Batyushkov. The cult of friendship and love in the works of Batyushkov. The role of the poet in the development of Russian poetry.

V.A. Zhukovsky. Art world romantic elegies and ballads.

The main problems of I.A.’s fables Krylova. The theme of the Patriotic War of 1812 in the fables of I.A. Krylova.

Creativity of the Decembrist poets. Features of the civil-heroic romanticism of the Decembrists, leading themes and ideas of their work (K.F. Ryleev,V.F. Raevsky and others).

A.S. Pushkin - the creator of Russian literary language; Pushkin’s role in the development of Russian poetry, prose and drama.

Freedom-loving lyrics by A.S. Pushkin, its connection with the ideas of the Decembrists (“Liberty”, “To Chaadaev”, “Village”).

Southern poems by A.S. Pushkin, their ideological and artistic features, reflection of character traits in the poems “ modern man».

The tragedy “Boris Godunov” by A.S. Pushkin. The historical concept of the poet and its reflection in the conflict and plot of the work.

Decembrist theme in the works of A.S. Pushkin (“To Siberia”, “Arion”, “Anchar”).

The theme of the poet’s spiritual independence in Pushkin’s poetic manifestos (“The Poet and the Crowd,” “The Poet,” “To the Poet”).

The poet’s philosophical lyrics (“A vain gift, an accidental gift...”, “Do I wander along the noisy streets...”).

The novel “Eugene Onegin” by A.S. Pushkin - the first Russian realistic novel, his social issues, system of images, features of plot and composition.

Patriotic poems by A.S. Pushkin (“To the Slanderers of Russia”, “Borodin Anniversary”, “Before the Saint’s Tomb”).

Pushkin's fairy tales, their problems and ideological content.

Meaning creative heritage A.S. Pushkin. Pushkin and our modernity.

The place and significance of the poets of Pushkin’s “pleiad” in Russian poetry. The originality of D.V.’s poetry Davydova, P.A. Vyazemsky, E.A. Baratynsky, A.A. Delviga, N.M. Yazykova, D.V. Venevitinova.

Theme and originality of the early lyrics of M.Yu. Lermontov, her genres, character traits of the lyrical hero.

The theme of the poet and poetry in the works of M.Yu. Lermontov (“Death of a Poet”, “Poet”, “Prophet”).

Development of realistic tendencies in the lyrics of M.Yu. Lermontov, the interaction of lyrical, dramatic and epic principles in lyrics, its genre diversity.

The social and philosophical essence of the poem by M.Yu. Lermontov's "Demon", the dialectic of good and evil, rebellion and harmony, love and hatred, fall and rebirth in the poem.

“Hero of our time” as a socio-psychological and philosophical novel M.Yu. Lermontov, its structure, system of images.

A.V. Koltsov. The organic unity of the lyrical and epic principles in Koltsov’s songs, the features of their composition and visual means.

Peculiarity creative talent N.V. Gogol and his poetic vision of the world. A.S. Pushkin about the specifics of Gogol’s talent.

Poem " Dead Souls» N.V. Gogol, its concept, features of the genre, plot and composition. The role of Chichikov’s image in the development of the plot and the revelation of the main idea of ​​the work.

Main features of Russian classical literature XIX century: national identity, humanism, life-affirming pathos, democracy and nationality.

Geopolitics of Russia: protection of the national-state interests of the country in the works of L. N. Tolstoy, N. A. Nekrasov, F. I. Tyutchev.

The demarcation of socio-political forces in the 1860s, polemics on the pages of periodicals. Magazines “Sovremennik” and “ Russian word"and their role in the social movement.

Journalistic and literary-critical activities of N.G. Chernyshevsky, N.A. Dobrolyubov and D.I. Pisareva.

N.G. Chernyshevsky. Socio-political and aesthetic views. Literary-critical activity of N.G. Chernyshevsky.

The novel “What to do?” N.G. Chernyshevsky, his socio-political and philosophical character, problems and ideological content. The theory of “reasonable egoism”, its attractiveness and impracticability.

ON THE. Nekrasov is the organizer and creator of the new Sovremennik.

Roman I.A. Goncharov “Oblomov” as a socio-psychological and philosophical novel.

“Notes of a Hunter” by I.S. Turgenev - history of creation, problems and artistic originality. V.G. Belinsky about “Notes”.

Novel “Fathers and Sons” by I.S. Turgenev, his problems, ideological content and philosophical meaning. The main conflict of the novel and its reflection of the socio-political struggle on the eve of and during the reforms.

The image of Bazarov as " transitional type""a restless and yearning man" in the novel by I.S. Turgenev "Fathers and Sons". Controversy surrounding the novel. DI. Pisarev, M.A. Antonovich and N.N. Fears about “Fathers and Sons.”

I.S. Turgenev “Poems in Prose”, themes, main motives and genre originality.

Drama “The Thunderstorm” by A.N. Ostrovsky. The problem of personality and environment, ancestral memory and individual human activity in relation to the moral laws of antiquity.

The innovative character of A.N.’s dramaturgy Ostrovsky. The relevance and topicality of the problems raised in his works.

Soul and nature in the poetry of F.I. Tyutcheva.

Peculiarities love lyrics F.I. Tyutchev, her dramatic tension (“Oh, how murderously we love…”, “ last love”, “On the eve of the anniversary of August 4, 1864”, etc.).

Immediacy artistic perception peace in the lyrics of A.A. Feta (“Don’t wake her up at dawn…”, “Evening” “How poor our language is!..”, etc.).

Genre diversity of creativity of A.K. Tolstoy. The main motives of the poet’s lyrics (“Among the noisy ball...”, “Not the wind, blowing from above...”, etc.).

Socio-political and cultural life Russia 1870s – early 1880s. Formation of the ideology of revolutionary populism.

M.E. Saltykov-Shchedrin is a contributor and editor of Sovremennik and Otechestvennye Zapiski.

“Fairy Tales” by M.E. Saltykov-Shchedrin, their main themes, fantastic orientation, Aesopian language.

Roman F.M. Dostoevsky’s “Crime and Punishment”, formulation and solution of problems in it moral choice and human responsibility for the fate of the world.

Raskolnikov and his theory of crime. The essence of “punishment” for a lost personality and its path to spiritual rebirth in the novel by F.M. Dostoevsky "Crime and Punishment".

N.S. Leskov and his tales about truth-seekers and people's righteous people (“Soboryans”, “The Enchanted Wanderer”, “Lefty”).

“War and Peace” L.N. Tolstoy. Concept, issues, composition, system of images.

Spiritual quests of L.N. Tolstoy in the novel Anna Karenina.

Search positive hero and ideals of A.P. Chekhov in his stories (“My Life”, “House with a Mezzanine”, “The Jumper”).

Innovation of Chekhov's dramaturgy.

Cognitive, moral, educational and aesthetic role of Russian literature of the 19th century in her global significance and a relevant sound for modern times.

The end of the 19th – the beginning of the 20th century

Modernist movements. Symbolism and young symbolism. Futurism.

Motives of the immortality of the soul in the works of I.A. Bunina.

A.I. Kuprin. Statement of high moral ideals of the Russian people in the writer's stories.

Moral and social quests of the heroes of I.S. Shmeleva.

Concept of society and man in dramatic works M. Gorky.

Autobiographical stories by M. Gorky “Childhood”, “In People”, “My Universities”

Ideals of serving society as interpreted by V. Ya. Bryusov.

Subject historical destinies Russia in the works of A.A. Blok.

Acmeism as a movement in literature; representatives of Acmeism.

Fate and Creativity M.I. Tsvetaeva.

Epic novel by M. Sholokhov “ Quiet Don" The uniqueness of the depiction of Russian character in the novel.

Novels and stories about the war “Young Guard” by A. Fadeev, “Star” by E. Kazakevich, “In the Trenches of Stalingrad” by V. Nekrasov.

Soviet historical novel“Peter the First” by A. Tolstoy.

Satirical novels and stories by I. Ilf and E. Petrov.

Reflection of the tragic contradictions of the era in the works of A. Akhmatova, O. Mandelstam.

Development of Russian traditions folk culture in the poetry of the 30s by A. Tvardovsky, M. Isakovsky, P. Vasiliev.

Patriotic poetry and songs of the Great Patriotic War.

M.A. Sholokhov - creator of the epic painting folk life in "Don Stories".

Military theme in the works of M. Sholokhov.

The originality of the composition of the novel " White Guard» M.A. Bulgakov.

The tragedy of the image Civil War in dramaturgy M.A. Bulgakov (“Days of the Turbins”, “Running”, etc.).

The novel “Other Shores” by V.V. Nabokov as a novel-memoir of Russia.

Early lyrics of B. Pasternak.

A. Tvardovsky “Vasily Terkin”. A book about a fighter - the embodiment of a Russian national character. I. Bunin about “Vasily Terkin”.

A. Tvardovsky’s poem “House by the Road”: issues, images of heroes.

“Camp” prose of A. Solzhenitsyn “The Gulag Archipelago”, novels “In the First Circle”, “Cancer Ward”.

Philosophical novels by Ch. Aitmatov: “Stormy Stop”, “And the Day Lasts Longer than a Century”, “The Scaffold”.

Image difficult path Soviet intelligentsia in the novels by Yu. Bondarev “The Shore”, “Choice”, “The Game”.

Philosophical fantastic prose A. and B. Strugatsky.

Historical novels by L. Borodin, V. Shukshin, V. Chivilikhin, B. Okudzhava.

Realistic satire by F. Iskander, V. Voinovich, B. Mozhaev, V. Belov, V. Krupin.

Neomodernist and postmodernist prose by V. Erofeev “Moscow - Petushki”.

Artistic development everyday life modern man in the “cruel” prose of T. Tolstoy, L. Petrushevskaya, L. Ulitskaya and others.

Image of a working man in poetic works Y. Smelyakova, B. Rucheva, L. Tatyanicheva and others.

The spiritual world of the Russian person in the lyrical verses and poems of N. Rubtsov.

Lyrics by poets of the front generation M. Dudin, S. Orlov, B. Slutsky and others.

An epic understanding of the Patriotic War in V. Grossman’s novel “Life and Fate.”

Philosophical and parable narrative about the war in V. Bykov’s stories “Sotnikov”, “Obelisk”, “Sign of Trouble”.

Manifold folk characters works of V. Shukshin.

Early stories by A. Solzhenitsyn: “One Day in the Life of Ivan Denisovich”, “Matrenin’s Yard”.

Poetry of the 60s XX century.

N. Rubtsov. The development of Yesenin’s traditions in the books “Star of the Fields”, “The Soul Keeps”, “The Noise of Pines”, “Green Flowers”, etc.

I. Brodsky's Nobel lecture is his poetic credo.

Books of poems by I. Brodsky “Part of Speech”, “The End” belle époque", "Urania", etc.

Social and psychological dramas by A. Arbuzov “Irkutsk History”, “Tales of the Old Arbat”, “Cruel Intentions”.

Theater of A. Vampilov: “The Eldest Son”, “Duck Hunt”, “Provincial Anecdotes”, “Last Summer in Chulimsk”.

Conventional metaphorical novels by V. Pelevin “The Life of Insects” and “Chapaev and Emptiness.”

Literary criticism of the mid-80s–90s. XX century

Development of the detective genre at the end of the twentieth century.

Below are flowcharts of some basic spelling rules.

The principle of using the algorithm allows you to correctly solve any spelling problem. Block diagrams will help the listener to repeat and consolidate spelling rules in a generalized form.

Block diagram No. 1

Roots with alternation

1) -gor-/ -gar-
Clone-/-clan-	No accent - ABOUT . Remember: utensil
Creation-/-creation-

2) -zor-/-zar- (z A rya – z O ri). No accent - A

3) roots of “...IRA”. If behind the root A , I’m basically writing AND

Beer-/-beer-		Steel-/-steel-
Ter-/-tir-		Shine-/-glitter-
Per-/-pir- Der-/-dir-	(you are t e r out And army)	Burnt-/-zhig- Even-/-cheat-
Mer-/-world- And:
I- (-a-) – -im-	(zan I t - zan them at)
I- (-a-) – -in-	(beginning A th – beginning in at)

(Proposal A go - sentence O life,	before G writing A ,
cas A to be - to O dream)	before AND – ABOUT .

5) -growing- / -growing- / -growing-

A st, sch.

The spelling of the root depends on the consonant in it:

vyr A puppy, p A groaning, but expressing O With .

Remember: R O stov, R O stislav, r O stockman, r O stock, but negative A sl.

The spelling of roots depends on the meaning:

6) th A k- (“to immerse something in liquid”); exchange A dip the pen into the ink.

M O k (“to let moisture through”); prom O read cotton wool.

R O vn- (“even, smooth); arr. O pick up the edges of the sheet.

Equal- (“equal, identical”); command "Equal!"

Remember: ur O ven, r A vnina.

Sk A k- (long-term action), obsk A kick someone.

Remember: jump O To.

Sk O h- (short action), high O chilled unexpectedly.

7) -pl s c- (if the word is a substantive formation); pl s present.

Pl O c- I write in words pl O vec, pl O sneeze.

Pl A c- I write in all other cases. (Pl A vuchy).

Block diagram No. 2 pre-; at –

I. Spelling pre-, pre- depends on the meaning

II. Distinguish by context

1. Pr e to be in the city ( Where? ) = to be.	1. Pr And to visit the city (where?) = to arrive (approaching).
2. Pr e to bow before a feat = to respect very much.	2. Pr And bow to the ground = bend down (approach)
3. Put something into practice = “translate from plans.”	3. Close the door = close (incomplete action).
4. Pr e matters of patience = limit.	4. Chapel of the temple = what is attached.
5. Pr e taker of ideas = one who adopts.	5. Pr And receiver (radio) = one who receives.
6. Pr e to give someone away = to hand over, to betray someone treacherously.	6. Pr And to give appearance to something = to come closer to some appearance.
7. Pr e to look at a traitor = to disrespect very much, to treat with contempt.	7. Pr And to look after an orphan = to shelter.

Block diagram No. 3

Letter b at the end of words

A. Feminine nouns numbers – mouse, daughter.

B. Verbs:

in the initial form: protect - take care, teach - learn (spelling b checked by the question: if b is in the question, then it is written in the word: (what is he doing?) studies; but he started (what to do?) study);

in the second person singular present and future tense: you are w b , I think w b , read w b ;

Do, do -

will - there are .

If he does,

That - tsya .

V. At the end of adverbs there is a sibilant, except for the words: already, married, unbearable. Compare: backhand, wide open, but: married.

Soft sign in parts of speech

Algorithm 4

s/u at the root after the prefixes

Example of reasoning: disinfection: 1) prefix according to; 2) excl. 1 is not included; 3) foreign language. Priest. dez ® AND.

Background – 1) prefix in acc.; 2) not included in the exception; 3) not inter-, super- and not foreign languages, Russian. ® Y.

Algorithm 5

o/e after sibilants under stress

Example of reasoning: Uprooting - 1) uprooting - spelling in suf., 2) uprooting - suf. verbal origin ® Ё

Hacksaw – 1) knife – spelling in suf.; 2) from knife, suf. non-verbal ® O

Algorithm 6

n/nn in participles and adjectives

End of Algorithm 6

We must distinguish

Adjective (denotes constant quality)	Participle (denotes a sign according to the produced action, can be replaced with a verb)
Planted father and mother	Planted trees (trees that have been planted)
Named brother and sister	Named by the teacher (the teacher named)
Dowry	Unit attached to the army
Finished man	Finished business
The girl is modest and well-mannered	A love for books has been brought up since childhood
The girl is stubborn and spoiled	The actress is spoiled by attention
Children today are distracted and inattentive	Grains scattered across the field
His actions are deft and focused	Troops are concentrated on the border
The city lived tensely all these days	The athlete's body is tense to the limit
He acted rashly	The matter has been thought out from all sides

An example of a specific reasoning: Liver fried in oil - 1) na-ny form - full; 2) fry - from the verb; not included in the exception; 3) no -ovanna-, -evan-; 4) what to do? fry - nesov. view; 5) fried in what? in oil – there is a dependent word ® NN.

Uninvited guests – 1) form on - full; 2) from (not) call – from the verb; not included in the exception; 3) no -ovanna-, evan-; 4) what to do? (not) to call - nesov. view; 5) the question is not asked from the word “uninvited”, there is no dependence. words ® N.

The night is long – 1) form -na – short; long – full form; 2) from length – noun; 3) the base ends with N+N ® NN. This means that in short form"long" ® NN.

Algorithm 7

Particle NOT with different parts of speech

Continuation of Algorithm 7

Particles are not and neither

1. Denial. He doesn't know this. (we check: does he know this? No.). 2. In negative and indefinite pronouns and pronominal adverbs under stress. No one, nowhere, no one. 3. In exclamatory sentences. Where has he been? What has he not seen! Such sentences are used either independently or as main ones. What did I do to please him? 4. In combinations, none other (other) than...; nothing else but... 1) in an affirmative sentence; 2) in meaning can be replaced by “not someone else, namely (he)”, “not something else, but precisely this.” It was none other than Ivan Ivanovich = it was not anyone, but precisely Ivan Ivanovich. 5. In combination, it is he, and not anyone else. I told him specifically, and not anyone else.

1. Strengthening negation (there is or is implied negation in the sentence). He doesn't know anything. There is not a rustle on the Neva. 2. In negative pronouns and pronominal adverbs without stress. No one, nowhere, no one. 3. B subordinate clauses with conjunctions: whatever..., wherever..., wherever..., no matter how much... etc. Whoever comes, everyone is welcomed. Signs: 1) have a condescending connotation of meaning; 2) cannot be used independently. 4. In combinations none other (other); nothing else (other) except. in negative sentences (there is a word with the particle NOT). Nothing else could interest him. No one else but Paul could have written this. You just knew how to wait like no one else (didn’t wait). 5. In combination, it is he and no one else. I told him and no one else.

End of Algorithm 7

1) union “A”; 2) contrastive-negative meaning. 6. In combinations: almost, isn’t it, almost; in unions it’s not that – not that, not only..., but also. 7. Double negative (Generally a statement) He couldn't help but say (he said).

1) conjunction “And”; 2) hidden denial; told him and didn't tell anyone else. 6. At steady speed: 1) no more no less; neither give nor take; neither two nor one and a half, neither fish nor meat; not a sound, not a breath; neither light nor dawn; neither here nor there; neither here nor there; break a leg; no answer, no hello; neither this nor that; neither ours nor yours; neither alive nor dead; neither one nor the other, etc.