for the preparation research work

on literature

Select (define) which work you want to analyze.

Make a work plan.

Before arranging the work, select the necessary material with which you can work, which you can rely on: quotations from the text, quotations from researchers, illustrations, terminology, definitions of terms, etc.

Save all collected information in a documentWord.

Analyze the information step by step, select the main thing.

After all the information is ready, start working with the program Microsoft PowerPoint (sample below).

Information part

Object and subject of research

The student choosesan object hiswork - what he will investigate, what to think about, what to analyze.

Example:

Works of the adventure genre, namely, "The Fifteen-Year-Old Captain" and "The Adventures of Robinson Crusoe."

Parables are several parables that have a common theme.

A specific work of a certain author (A. de Saint-Exupery " The little Prince»)

Once an object is selected, it is necessary to define −what are we going to study :

prove your opinion - how we understood this work;

compare two works of certain authors;

determine the common features of works of works completely different in theme;

consider a certain concept (for example: idea, composition, characters, landscapes, history of creation, etc.). You can only have one concept (idea), you can have several.

Example:

An object - the work of A. de Saint-Exupery "The Little Prince".

What will happen subject research?

It could be a featuresymbols in the work and their common role for understanding the text (the Little Prince himself, the rose, people who lived on asteroids, etc.).

This can be an analysis of one of the characters (detailed): a portrait, the significance of the character in our understanding, the significance in the work, etc.

That is, WHAT INTERESTED us in the selected work.

A small reminder: any work is the result of the thoughts of a certain author. To understand the work, we must know what the writer's creative activity is, what he wanted to show in his works, what worried him.

Definition of the topic, purpose, objectives and relevance

Research topic - this is what,what we want to consider (research).

The chosen topic should be problematic (have ambiguous interpretations in the literature, insufficiently developed in practice, cause certain difficulties in understanding or using, etc.).

The material should be selected according to the topic.

The available points of view on this issue are indicated and briefly analyzed.

The student must reasonably support any point of view, or explain his point of view based on a comparison of existing points of view.

The work must have a logic in the presentation of the material, correspond to the scientific style.

Target research is the end result that dos would likethe researcher at the end of his work. Let's highlight the most typical goals. They can be the definition of the characteristics of phenomena, not studyingchennyh earlier; identification of the relationship of certain phenomena; study of the development of phenomena; description of a new phenomenon; identification of general patterns; creating classifications.

That is, what conclusions we want to draw with our research, what discovery we have made.

The goal of the study can also be formulated different ways- traditionally used in scientific speech cliche. Let's give examples of some of them.You can target:

reveal...;

install...;

substantiate...;

specify...;

develop... .

To achieve the goal, it is necessary to solve certain tasks.

Tasks These are the stages of our work. The steps are sequential.

This means that we must solve the problems one by one, one by one.

Example:

I putgoal - reveal the symbolic meaning of the characters in the work

( or: clarify the significance of the work, establish the relationship between characters, events, etc.).

How can I achieve my goal? I must (should) solve problems - by certain stages prove their views, opinion on the chosen topic. To make it clearer:tasks are the points of the plan according to which we will conduct the study. Let's say our goal is to reveal the symbolic meaning of the characters in the work, then I have to solve the following tasks:

Consider the features of the work of the author of the work and the history of the creation of the work itself.

Consider (analyze, characterize) the characters of the work.

Define - what a particular character is a symbol of.

Draw conclusions - the general meaning of the characters in the work.

Relevance research topics- this is the degree of its importance at a given moment and in a given situation for solving these problems, a question or a task. What is the novelty of our work, why we are interested in this topic. As relevance, you can choose a quote that will display the meaning of the work.

Working with information (material)

Material is selected with which you can argue your opinion (prove your idea).

All information is located according to the established plan, only the most necessary is selected - clearly according to the tasks and the goal, since excess information is already a departure from the topic and a violation.

Thoughts and opinions must be supported by quotations from the text, if a statement is given, it is indicated who the author of the words is.

Since the work is research, it is based on scientific knowledge- Literary theory. Therefore, in the work it is necessary to correctly use literary terms, to explain these terms (to give them a definition of what they mean).

Conclusion

The conclusion should reflect main idea selected topic. Only after solving the problems is the result of the work summed up. We write conclusions on the solved problems (what we considered, what we achieved, what discoveries we made). After that, we write down what goal we have achieved.

I remind you:

problem solving helps to achieve the goal.

The goal is a detailed disclosure of the chosen topic.

Design example:

1 slide

"Front Sheet"

2 slide:

Theme, goal, tasks

3 slide

Relevance

4 slide

(we solve the assigned tasks one by one)

Task 1. To get acquainted with the worldview and creative principles of Goethe

(not written).

5 slide

Task 2. Familiarize yourself with historical data on the real image of Dr. Faust (not spelled).

6 slide

7 slide

Task 3. Consider the interpretation of the image of Faust in various types of art

(not written).

NOTE!

If used literary term, it is necessary to write down its definition.

Example:

8 slide and 9 slide

Last slide

CONCLUSION (CONCLUSIONS)

Good luck in your creative search!

Tanashevich Alexandra Alexandrovna

Nina Terentyeva,
Chelyabinsk

From reading - to Literature Research

The specifics of the research activities of students in literature,
management methodology

AT last years we can justifiably speak of a "student science boom".

Due to its flexibility, variability, being a “free search zone” (B. Nemensky), extracurricular work directly responds to the interests and needs of students, contributes to the realization of the creative potential of the individual, influences the formation of value orientations, tastes.

Based on the principle of voluntariness, it allows the student to know himself, his abilities, creativity, make an individual choice of areas of activity and communication. For high school students, this choice is usually associated with professional self-determination. In addition, a significant number of specialized schools, classes, including the humanities, have appeared, where extracurricular work becomes a necessary, organic channel for introducing schoolchildren to science and culture. A university teacher, a scientist at the school is not a guest, but a full-fledged mentor.

Right now, there is an urgent need to understand the specifics of student research in literature, the methodology of organizing research activities schoolchildren. Can a student perform work at the level of scientific research?

In modern didactics, the research method is interpreted as follows: “It is designed to ensure, firstly, the creative application of knowledge, and secondly, mastering the methods of scientific knowledge in the process of searching for these methods and applying them. Thirdly, it forms ... the features of creative activity. And fourthly, it is a condition for the formation of interest, the need for this kind of activity, because outside the activity, motives that manifest in interest and needs do not arise. One activity is not enough for this, but without it, this goal is unattainable. As a result, the research method provides full-fledged, well-conscious, operational and flexibly used knowledge and forms the experience of creative activity” (I.I. Lerner).

Of course, a student's research cannot be equated with the research of a scientist, which results in the scientific discovery of qualitatively new patterns and phenomena. “Students solve problems that have already been solved by society, science, and new ones only for schoolchildren ... The teacher presents this or that problem for independent research, knows its results, the course of the solution, and those features of creative activity that it requires to show in the course of the solution. Thus, the construction of a system of such problems makes it possible to envisage the activities of students, gradually leading to the formation of the necessary features of creative activity,” wrote I.I. Lerner. Thus, students make an ascent to the heights already discovered by science, but comprehend the truth not as a finished result, but as the result of their own observations and decisions. The teacher, on the other hand, helps to choose the path of ascent, to discover the general through the particular.

Petersburg Methodist Professor M.G. Kachurin devoted the book "Organization of research activities of students in literature lessons" to this topic. In school research activities, the actual discovery does not occur. But this does not mean that the student and the teacher do not discover anything new. The end result is your own interpretation of literary material (themes, problems), a new look at works of art. It is hard not to agree with M.G. Kachurin: “If books live and change in the minds of generations of readers, then schoolchildren, whose eyes, under conditions of good teaching, will be attentive and inquisitive, are able to see something not noticed before in a long-known text.”

In order for this interpretation to take place, to be justified, reasoned, it is important for the teacher to find a topic, a problem in the solution of which the student can say “his word”, direct the search by suggesting a research methodology. The success of the research is largely determined by the topic. Appeal to the topics studied by literary criticism, classical for literary criticism, is undoubtedly useful and interesting in terms of knowledge for a student who is passionate about literature. For example:

– Functions of the landscape in the novel by I.S. Turgenev "Fathers and Sons";
- Catherine II in Russian literature (techniques for creating an image);
– The genre of travel in the literature of Europe in the 18th–19th centuries;
- Subject " little man” in the poem “The Bronze Horseman” by A.S. Pushkin;
- The image of Pugachev in the novel by A.S. Pushkin "The Captain's Daughter";
– Genealogical tree of I.S. Turgenev;
- I. Novikov and Freemasonry.

(Works on these topics were presented at the NOU city conference.)

But such topics result in an abstract: the guys diligently retell well-known studies, not always bothering to refer to the source when quoting verbatim. It remains for them to work hard in order to “appropriate the mind of someone else”, that is, we are talking about reproductive activity.

It is unlikely that they are focused on an independent interpretation of the text of the topic, which can be the subject of consideration by a specialist, a professional, since they imply thorough theoretical knowledge in the subject of study (“Baroque Aesthetics in N.V. Gogol’s collection “Arabesques””; “Genre “Drama on the Hunt” A.P. Chekhov). Broadly formulated themes (“A.S. Pushkin and world culture”; “Christian motives in modern literature”; “Some specific features of the language of the story “The Pit””) make it difficult to concretize the material, weaken the problematic, conceptual analysis. In no way can it be attributed to the category of research works written in a journalistic vein, for example, the impression works “My Pushkin”, “My perception of A. Blok's love lyrics”.

Finding a good topic is not easy. It should be specific and give the joy of thoughtful reading, immersion in the text, reader guesses and insights, when reading is (recall the definition of V.F. Asmus) “labor and creativity”. The main goal in this case cannot be the education of a scientist, preparation for scientific activity. Paraphrasing the well-known formula of M.A. Rybnikova (“From a small writer to a big reader”), the direction of the search given by the topic should be designated as follows: “From a small researcher to a big reader”. In a letter to A.F. Pazukhin, who opened the Small Pushkin House in Gurzuf's secondary school, Yu.M. Lotman emphasized: “... your various dictionaries, reference books and other works seem to me especially useful, which promise future authors the joy of attentive reading of Pushkin. A narrow specific topic orients the young researcher to attentive immersion in the text. Too broad topics - on the path of eloquence, not always deep.

We are talking about the topics of "Pushkin's Notebooks":

- Pushkin's dictionary of natural concepts: flowers, elemental phenomena;
- Etiquette, fashion, holidays of Pushkin's time;
- Home Pushkin: personal belongings, habits, prejudices, daily routine.

Yu.M. Lotman approved of topics that orient the researcher to deep, thorough work with literary texts, letters, and memoirs.

We see similar works in the scientific society of students:

- The symbolism of color in the works of Garshin;
- Color vocabulary in M. Lermontov's poem "Demon";
- The image of the Moon in the lyrics of I. Bunin;
- Chronotope in the urban period in the early lyrics of V. Mayakovsky;
- The image of flowers in the work of A. Pushkin;
- The image of the Sun in the lyrics of A. Balmont.

These topics, specific to the subject of research (we note that they are often associated with the understanding of poetics), involve the compilation of a card file, analysis of textual material, its systematization and comprehension in the context of the writer's artistic world.

The study is accompanied by the development of the conceptual and categorical apparatus. It's annoying when a student, defending the work "Tragic and comic in the anecdote novel by V. Voinovich" The life and unusual adventures of a soldier Ivan Chonkin "", cannot define "tragic" and "comic" as aesthetic categories, explaining them at the everyday level finds it difficult to substantiate the genre declared in the topic. The absence of a conceptual explanation of the described and systematized material in the context of the author’s artistic world often devalues ​​the results of the work: it is important to correlate the student’s interpretation with the author’s intention in order to understand how not accidental the proposed observations and conclusions are, to overcome possible contradictions between the subjective interpretation of the material and the objective meaning of the work. Obviously, the topic "The Book of Fates and the Fate of the Book" (B. Pasternak's novel "Doctor Zhivago") requires, in addition to observing the fate of the heroes of the novel, an understanding of what fate is in philosophical terms in Pasternak's understanding. And the theme "Semantic and form-forming constants of B. Grebenshchikov's songs" leads to the identification of the range of value and figurative dominants of the author, and not just to commenting on songs that are interesting to the student.

The teacher refers the student-researcher to certain bibliographic sources. Here, a measure is needed so that these are really “basic” sources and there is room for independent observations, judgments, and conclusions of the student. So, to work on the topic “Color in the novel by F.M. Dostoevsky “Crime and Punishment”” the student was recommended to get acquainted with the book by S.A. Solovyov “Visual means in the work of F.M. Dostoevsky", where, in particular, the function of color in Dostoevsky's work as a whole is explored. Having compiled a card index of color images in separate chapters, having analyzed it, Anya G. (hereinafter we are talking about students of the linguo-humanitarian gymnasium No. 48 in Chelyabinsk) was able to correlate her data with the conclusions of a literary critic, who revealed the general patterns of color images in Dostoevsky's works. Working on the topic “A.S. Pushkin in the minds of the poets of the Russian emigration”, Hasmik S. built it on an independent analysis of the poem from the collection “Wreath to Pushkin”, published in 1995. Tatyana L., who became interested in the topic “K. Balmont’s sound writing”, got acquainted with the articles by I. Annensky, L. Ozerov about the lyrics of K. Balmont, the data of the “Dictionary of literary terms” and showed the unique possibilities of sound instrumentation of Balmont’s poems, independently analyzing individual poems, explaining the function of sound recording in specific texts.

Finally, about the structure of the research work. It includes a plan that reveals approaches to interpreting the topic. The main part is preceded by an introduction, where the substantiation of the problem is given, it is explained why this problem is of interest to the author. Here, the objectives of the study are clearly and specifically formulated. The work ends with a conclusion, where conclusions are drawn. A list of references is required. Quotations are accompanied by footnotes.

Here is what, for example, was the plan of the study ““Queen of Spades” by A.S. Pushkin translated by P. Merime»:

I Introduction

1. The Merimee-Pushkin problem.
2. The origins of Merimee's interest in Russia.
3. Evaluation of A.S. Pushkin by Prosper Merimee.
4. “Russian language” by Prosper Merimee.
5. Aesthetics of Pushkin and Merimee's prose.

II. Comparative and comparative analysis of the texts of the original and translation:

1. Inaccuracies in translation.
2. Misunderstanding by the translator of the Russian text.
3. Giving the text a different color (semantic, emotional).
4. Banknotes; “expansion” of the text by the translator.

III. Hermann Pushkin and Hermann Merimee – similarity and difference.

In choosing research topics for students of the Linguistic and Humanitarian Gymnasium specializing in the study of French and English, we were guided by the individual interests of the children, as well as their professional choice. Many graduates of the gymnasium link their future with the study of foreign languages. Literary topics in this case, we formulate, taking into account interdisciplinary connections (French language - French literature - Russian literature), the principle of "dialogue of cultures". The foreign language teacher acts as the second supervisor. These are studies such as:

– French heroes of the novel "War and Peace" by L.N. Tolstoy;
- Comparative analysis of the fables of La Fontaine and Krylov;
- "Shot" A.S. Pushkin translated by P. Merime (comparative analysis);
– French, German, English realities in the novel by A.S. Pushkin "Eugene Onegin";
- The satirical beginning in P. Merime's short stories.

I would like to highlight Tatiana Volkova's study "Marina Tsvetaeva's France". The original intention of the study was to:

- to identify the links connecting Marina Tsvetaeva with France;
- the attitude of the poet to this country (biographical aspect);
- highlight the images of French culture and history in the poet's work; understand how attractive they are for Tsvetaeva and how they characterize the uniqueness of her worldview.

According to the seven-volume collected works, a card index was compiled, giving an idea of ​​the “French context” in the works of Tsvetaeva. It turned out to be extensive: in addition to folklore, images of Joan of Arc, Louis XVII, the Duke of Lauzin, Napoleon, Eaglet - Duke of Reichstandt, Napoleon's son, Sarah Bernhardt. Commenting on and analyzing literary texts made it possible to understand why these particular cultural phenomena, names were so dear to Tsvetaeva, helped to penetrate deeper into her artistic world, to comprehend the poet's personality in its entirety.

But already in the process of research, it was discovered how extensive and significant the foreign language heritage of Marina Tsvetaeva, including French theses. Tatyana was interested that on the eve of the centenary of the death of Pushkin, Tsvetaeva, wanting to give the French reader genuine Pushkin's poetry, translates several of his poems, confident that "no one will translate like that." There was a desire to compare Tsvetaeva's translations with the original and to understand the creative principles of Tsvetaeva as a translator.

In the course of work on the biographical chapter, a promising problem for research was also discovered. In exile, Tsvetaeva takes on the translation into French of her poem "Well Done", written based on the folk tale "Ghoul", but is convinced that the actual translation is impossible. And she re-writes the poem, imbued with Russian folklore, in Russian. It is natural for a researcher to want to compare the poems "Well Done" and "Le Gars" and answer the question why Tsvetaeva refused to translate and created an original work based on the same plot.

The issues are certainly interesting. But where can I get Tsvetaeva's French texts? They are not in the collected works. Through the Internet computer system, we received from America an article with Tsvetaev's translation of The Prophet. And here, as is often the case in science, His Majesty chance helped. Studying in the public library, Tatyana accidentally found in the newspaper "Russian Thought" the address of Sorbonne Professor Veronica Losskaya, whose book "Marina Tsvetaeva in Life. Unknown Memoirs of Contemporaries" was one of the sources of the study. Further work on the topic was possible thanks to the kind responsiveness of Veronika Nikolaevna, who sent photocopies of Tsvetaeva's translations of Pushkin, Lermontov, Mayakovsky and the poem "Le Gars". It should be noted that when the work was completed and submitted for the competition, the book of Professor E.G. Etkind “There, inside. On Russian Poetry of the 20th Century”, where there is a chapter on the poem “Well Done” and its French version. The young researcher had the opportunity to compare her “test of the pen” with the brilliant work of a professional philologist. Tatyana, having become a student at the Faculty of Foreign Languages ​​of the Pedagogical University, intends to continue the research she started at school.

In conclusion, about the assessment of student research. For a long time, an oral presentation (up to 10 minutes), ending with an answer to the questions of the jury and the present contestants, was a form of defending the results of the study. Contradictory situations often arose: the student, having completed an interesting independent study, unfortunately, defended it unsuccessfully. The reasons are different: insufficient problematic presentation, quite understandable excitement. On the contrary, having done a rather modest job, but possessing eloquence, another contestant successfully presented his research. Inevitably, subjectivity in the assessment.

It seems that it is not difficult to eliminate this contradiction. Experts, having familiarized themselves with the works in advance, evaluate them according to certain criteria. They can be:

1. The nature of the study of the problem:

– conceptual 10 points
– problem-analytical 6–8 points
– abstract 2 points

2. The degree of independence in solving the problem up to 5 points

3. Possession of theoretical and literary concepts 3 points

4. Acquaintance with literary (and other) sources. Correctness in citation up to 5 points

5. Working with text artwork:

– text analysis up to 5 points
– citation of an illustrative nature 2 points

6. Structure of the study (plan, introduction, clarity in the formulation of goals, conclusions, bibliography)

5 points

7. Style of presentation 2 points (maximum - 35 points)

The defense of the research is evaluated separately during the scientific and practical conference. Possible criteria:

1. The degree of disclosure of the problem:

– completeness, conceptual completeness 5 points
- fragmentary presentation 2 points

2. Freedom of possession of the material 5 points

3. Answers to questions 5 points (maximum - 15 points)

The final grade is the sum of the grades for the study and its defense.

LITERATURE

1. Didactics high school: Some problems of modern didactics. Ed. M.N. Skatkin. M., 1982.
2. Mader R.D. First steps in scientific search // Literature at school. 1981. No. 12.
3. Kachurin M.G. Organization of research activities of students in literature lessons. M., 1988.

1. Introduction…………………………………………………………………………

Substantiation of the relevance of the research topic: the reasons for addressing the topic of a black man as an attempt to resolve the eternal philosophical opposition of black and white, good and evil.

2.Main part………………………………………………………………….

Benchmarking the image of a black man in A.S. Pushkin's tragedy "Mozart and Salieri", in S.A. Yesenin's poem "The Black Man", in the poetic works of V.S. Vysotsky.

2.1 The history of the creation of works and their evaluation in criticism.

2.2 Characteristics of the image of a black man in the works of poets:

Portrait characteristic;

Activities and interests;

Moral qualities that the author shows in behavior actor(of the blackest man).

2.3 Who is a black person for each of the poets?

3. Conclusion…………………………………………………………………….

The theme of the black man as a perspective for further research.

4. Addition to what has been said…………………………………………………….

Read the classics - there are answers to all questions!

5. List of used literature.

1. Introduction.

Good and evil, genius and villainy, black and white ... The minds of many philosophers were occupied by the opposition of these concepts, a lot of scientific research has been devoted to them.

Good is the goal human activity, an ideal to strive for. Religion embodied the idea of ​​the highest good in God. He is the creator of everything good, eternal, reasonable. Evil comes from the "sinfulness" of people, it is the machinations of the devil. Evil entails misfortune, suffering, grief, misfortune.

Black soul, black envy, black rumor... Within the framework of philosophical systems and religious doctrines, there have always been attempts to determine the "common nature" of good and evil.

The opposition of black and white goes back to ancient Slavic mythology and is relevant to this day. In the media, you can often find journalistic materials about various currents - adherents of black or white. For example, the White Brotherhood religious organization, founded in the 1990s by Y. Krivonogov and Maria Tsvigun, a specialist in the field of mental influence on personality, and recognized as extremist in 2013, used White color as a symbol of purity and love for God. The youth subculture "Goths", whose prominent representatives can be found on the streets in black robes, with black hair and bleached faces, uses black as a symbol of depression, despair and heartache. Satanist sects also use black in their symbolism, which is the color of the devil.

The traditional mythological image in world literature is the Black Man. In Slavic mythology, the word "black" is used as an epithet of evil spirits, everything old, ugly, crafty and evil was connected with black deities.

The development of the image of a black man in Russian literature is the goal of my research.

As you know, the sixth of June is the most important date in the history of Russian culture: the birthday of A.S. Pushkin. Having watched the feature film “Mozart and Salieri” based on the “Little Tragedies” of the great poet that day, remembering the image of the black man who appeared to Mozart, I realized that I needed to start with this.

As you know, poetry is (sometimes it happens) replicas in dialogue, responses to the works of other poets. So, A.S. Pushkin's poem "Mozart and Salieri" became a literary source for Sergei Yesenin's poem "The Black Man". The title of the poem - a direct quote from Pushkin's little tragedy - emphasizes that envy and dark forces are embodied in the image of the "black man", tormenting and pursuing the poet, like Pushkin's Mozart.

The appearance in 1979 of the poem by Vladimir Vysotsky "My black man in a gray suit ..." was also a kind of replica in the dialogue of great poets. The image of a black man in the works of A.S. Pushkin and S.A. Yesenin has been sufficiently studied. Many are dedicated to this scientific work, for example: S.N. Kireev "The poem" Black Man "in the context of the work of S. A. Yesenin", A. Marchenko "The poetic world of Yesenin", S. Koshechkin "In the world of Yesenin", D. Blagoy " creative way Pushkin" and others. Who is the black man of V.S. Vysotsky? So it was predetermined topic of research work:« Transformation of the image of a black man in the works of A.S. Pushkin, S.A. Yesenin, V.S. Vysotsky.

The final stimulus for scientific research was the following: getting acquainted with the materials on the work of these poets, I am convinced: all reviews literary critics, scientific works did not summarize information on the dynamics of the image of a black man in the poetry of representatives of three eras.

While researching, I was concerned the following aspects works:

- informative, because I really wanted to understand: is a black man an image real or fantastic?

-analytical, because, in my opinion, the problem of a black man worried three poets not by chance: who and what was this image for representatives of different eras - A.S. Pushkin, S.A. Yesenin and V.S. Vysotsky?

Apparently, a black person is, first of all, the embodiment of evil, the antithesis of goodness, beauty, which can interfere with the best in a person's life.

I am sure that the opposition of good and evil, truth and lies will always excite the minds thinking people. Good and evil are categories that evaluate everything that exists in the world: social structure, the qualities of a person, the motives of his actions and the results of actions. The invention of means of mass destruction, wars for the possession of material goods are accompanied by the manifestation of disgusting human qualities: malice, revenge, envy, greed, meanness, betrayal. Therefore, the chosen topic for research will always be relevant.

In this regard, I propose hypothesis: to trace the dynamics of the image of a black man in the work of these authors, to identify similarities and differences in the image of this hero, to show this image as a result of the poets' reflections on the fate of a creative person in certain socio-historical conditions.

The purpose of the research work- to reveal the dynamics of the problem of the "black man" in Russian literature, based on the work of A.S. Pushkin, S.A. Yesenin, V.S. Vysotsky.

To achieve the goal it is necessary solution of the following problems of this work:

1) reveal the origin of the image of a black man in Russian literature;

2) make a comparative analysis of the authors' works;

3) justify who or what a black person is for poets;

4) draw appropriate conclusions on the problem.

Subject(object) of this study is the image of a black man in the work of three poets: in the tragedy of A.S. Pushkin "Mozart and Salieri", in the poem by S.A. a man in a gray suit…” and others).

I researched artistic techniques, allowing to characterize the image of a black man and trace its dynamics in the works of these authors.

Therefore, I affirm need using such a method, as a comparative analysis of works of art, I also use such theoretical method how to work with literary terms.

Scientific novelty work lies in the fact that although there are critical articles that reveal the similarities and differences between the black man A.S. Pushkin and S.A. Yesenin, but the problem of the black man in the work of Vladimir Semenovich Vysotsky has not been sufficiently studied and comparing three points of view on this image not given, the authors were even reproached for the lack of an idea (with which, of course, one cannot agree), so my research will be of interest in this area.

Theoretical significance of the work that the study made it possible for the first time to analyze three interpretations of one image, and also drew attention to the possibility of studying the image of a black person comprehensively.

The practical significance of the work is that this study can later be used for literature lessons in high school educational institutions, to prepare for the Olympiads in the subject "Literature".

2. Comparative analysis of the image of a black man in A.S. Pushkin's tragedy "Mozart and Salieri", in S.A. Yesenin's poem "The Black Man", in the poetic works of V.S. Vysotsky

Day and night does not give me rest

My black man...

2.1 The history of the creation of works and their evaluation in criticism.

The image of a black man has deep roots in literature. AT explanatory dictionary V. Dahl synonymous with the word "black" are unclean, devil, devil. In other words, a black man is one of the forms that black power, Satan, the devil, who is the personification of evil, the enemy of the human race, takes on. Even in Slavic mythology, in the legend of Chernobog and Belbog, black and white deities are opposed, and the word "black" is used as an epithet of evil spirits. The fabulous Black Horseman from Russian folklore, allegorically “overtaking people on the way”, was a harbinger of Death. The image of a black man is manifested in different peoples in different eras: black giants from Scandinavian folklore, Goethe's Faust.

Of course, A.S. Pushkin, as a connoisseur and collector of folklore, did not bypass this topic. The invasion of supernatural otherworldly forces into human life is present in many works of the poet: the fabulous Chernomor, the formidable Bronze Horseman and others. But nowhere was this image as mysterious and frightening as a faceless man in black who ordered Mozart's Requiem in A.S. Pushkin's dramatic work Mozart and Salieri.

The work "Mozart and Salieri" by Alexander Sergeevich Pushkin was written in 1830, during the period known as the first Boldino autumn. Pushkin went to the family estate of Boldino as a doubtful person, thinking about his uncertain future. His dismay and anxiety is evidenced by the fact that in early autumn he writes a gloomy winter poem"Demons". Pushkin turns to the philosophical understanding of life not only in poetry, in the first Boldino autumn he writes a cycle of works called “Little Tragedies”. Based on one of the many rumors generated by the early death of W. A. ​​Mozart, Pushkin's "little tragedy" "Mozart and Salieri" contributed to the spread of the myth about the involvement of the composer A. Salieri, whose name in Russia became a household name. In fact, Salieri did not kill Mozart. And although the image of Salieri in Pushkin's work is historically unreliable, and even the image of Mozart differs from its historical prototype, the poet used the figures of two composers to embody in them the images crowded in his creative mind. This is a work about envy and friendship, about art and craft, about genius and villainy, such an assessment is given by critics of the tragedy "Mozart and Salieri".

A.S. Pushkin recognized the superiority of Mozart over all other composers. For him, and for the whole world, Mozart is a genius who has known the very essence of art, a musician of supernatural talent, such as he is born once in a hundred years. The murder of such a genius gives the work a tragic tone.

S.A. Yesenin’s poem “The Black Man” is separated from the work of A.S. Pushkin by almost a hundred years. This poem is a mystery, disputes about it continue to this day. Having finished the poem in November 1925, a month and a half later, Sergei Yesenin dies. The official version: on the night of February 28, S. Yesenin committed suicide in the Angleterre hotel in Leningrad. Now the poem "The Black Man" is perceived by many as a kind of poet's requiem. Its name is a direct quote from Pushkin's "little tragedy", and Yesenin himself, speaking of his poem, recognized "Mozart and Salieri" as its literary source and thereby emphasized that envy and dark forces were embodied in the image of the "black man", tormenting and persecuting the poet himself, like Pushkin's Mozart.

The poem “grows” out of Yesenin’s work as a whole, the mystical themes can also be traced in other poems by Sergei Alexandrovich: “the devils nested in the soul”, “the unclean power frightened us, no matter what the ice hole - there are sorcerers everywhere ...”, “the smells of incense seemed to be in the grove, in the wind blazed the knocking of bones ... ". But many of Yesenin's contemporaries believed that the poem was very autobiographical, night vision and the delirium of the inflamed consciousness of the poet is a consequence of alcoholism and mental disorder. But work on the poem lasted a long time, its idea arose during Yesenin's foreign trips. Then he was often overcome by black melancholy, which intensified the feeling of emptiness and uselessness. The poet's premonition of the end life path gives the work a depressing tone.

Critics of S.A. Yesenin’s work also see analogies between the poem “The Black Man” and “Portrait” by N.V. Gogol, look for its roots in F.M. Dostoevsky’s novel “The Brothers Karamazov” and in “The Black Monk” by A.P. Chekhov. This once again proves that Russian literature has always been distinguished by attention to the spiritual search of man. And two forces have always fought for the human soul: dark and light.

The poem by V.S. Vysotsky "My black man in a gray suit ..." was written in 1979, almost half a century after S. Yesenin's poem. A year later, Vladimir Semenovich Vysotsky died. It is known that a year before his death, Vysotsky was in a state of deep depression, fatigue from life. The tragic feeling of the end is confirmed by the words of the hero: "I switched to you with death."

A contemporary of the poet Vadim Tumanov, in his memoirs, claims that the prehistory of Vysotsky's creation of the poem "My black man in a gray suit ..." was his story about the Kolyma boss, who was all so "polite, cultured, tastefully dressed", but once kicked a bending man with his foot in the face. Vladimir Semenovich Vysotsky was very struck by this story, he repeatedly returned to it, clarified the details of the official's appearance. This is how the poem was born, but Vysotsky the poet was always worried about the question of how a person changes depending on the circumstances, on the position.

“My black man” is a quote from “Mozart and Salieri”, Yesenin’s man is just black, although, of course, V.S. Vysotsky knew and loved Yesenin, songs based on poems by the Ryazan poet were included in Vladimir Semenovich’s repertoire. The pronoun "my" is used when talking only about something permanent, familiar, established. Does it mean that when saying “my black man”, V.S. Vysotsky emphasized that the hero had to deal with him more than once in his life. Let's try to figure it out in the course of the study.

In the scientific literature, there was an opinion that a black man is a “direct” expression of the everyday and psychological crisis of poets, even a “naive” transcription of the authors' hallucinations into verse. In works relating to "Mozart and Salieri" by A.S. Pushkin, "The Black Man" by S.A. Yesenin, there is often no certainty in the connection between the two poems. In works analyzing the poetic works of V.S. Vysotsky, it is only indicated that A.S. Pushkin was Vysotsky's favorite poet, that the last role of Vladimir Semenovich is Don Juan from the same "Little Tragedies" ... The most banal solutions to this topic are only in analogy between the anonymous customer of the "Requiem", dressed in black, and the "bad" night guest from S. Yesenin's poem. The rapprochement of these characters was often attributed to an undeniable reminiscence: it is enough to recall the words of the beginning of S. Yesenin's poem "The Black Man Doesn't Let Me Sleep All Night" and Mozart's complaint "My black man does not give me peace day and night." But it is hard not to notice the semantic dissonance between the converging situations in the poetry of the three authors. Mozart's customer acts for the composer as a harbinger of death, it can be an intrusion of Rock that declares itself, as a materialization in Mozart's imagination of implicit knowledge of the end prepared for him by Salieri. The black man of S. Yesenin is an accuser-double, touching the conscience of the hero, glaring at his face with eyes covered with "blue vomit", reminiscent of the sin committed. The black man of V. Vysotsky is a Soviet official, bureaucrat, party functionary, who arose in the era of developed socialism, in the era of exacerbation of socio-political problems of the period of stagnation in the 70s of the last century, an unceremonious, rude person, who does not respect, first of all, representatives of creative professions, limiting them in everything, most often in such an important category for Vysotsky as freedom.

2.2 Characteristics of the image of a black man in the works of poets.

The characterization of an image in literature begins with a portrait. We cannot even imagine the features or facial expression of the black man who visited Mozart, we only know that he was “dressed in black”, entered, “bowed politely”. Since other people told the composer about the visits of a black man, we can conclude that this is not a figment of Mozart's imagination, but a specific person.

In the poem of Sergei Yesenin, a black man appears differently than in Pushkin. It appears as a terrible vision, a nightmare, the fruit of a diseased imagination. The portrait of a black person is given more clearly, such details of appearance as a top hat, a frock coat and a nasal voice appear here. The cylinder, raised by a black man above his head as a sign of a mocking greeting, is identified by critics with the famous Yesenin's cylinder, sung in the "hooligan" cycle. The fact that at first the cylinder belonged to a terrible vision, and at the end to the poet himself, speaks of the unreality of a black man created by a sick imagination.

In Vysotsky's poem, as well as in Pushkin, the portrait characteristic of a black man is completely absent. But one detail - a gray suit - still distinguishes him from his "predecessors". This detail in Vysotsky indicates that a black person held a certain position. Elegant suits of restrained tones, mostly gray, were worn by many officials of that time. The face of a black person is hidden under the "mask", and not only the face, but also the true "black" essence is hidden under it.

We do not learn too much of the portrait characteristics of a black man from the works, but still why is this image so mysterious and frightening?

I suppose the following: A.S. Pushkin has a Black Man - a sign of an impending murder, S.A. Yesenin - a spy of evil, tormenting a sinner, this evil has already been committed, V.S. Vysotsky has an ominous figure, forcing everyone to live in a normalized herd way the life of the Soviet citizen. These are very different roles. The approach to the role of a black man by three authors is also interesting: in Pushkin, a black man is both a customer and an envious Salieri, accelerating the departure of a genius; Yesenin has the poet's double (the guest's face turns out to be a reflection of the poet's face in a mirror broken with a cane), Vysotsky has a little official who imagines himself to be a big man ... Almost all literary critics, recognizing the connection of these works, discussing in detail the variety of hypothetical connections that can close a black man into counterpoint with other works of Russian literature, they agree that there is something Mozart in the authors of the poems: Mozart is too good for this life, ordinary human concepts talent, genius are not for him, they are too small for him. Salieri eliminates not the "idle reveler", but a miracle that humiliates him, not a man, but a "cherub"; the tragic self-identification of the poet with the "bad" visitor, who came to intimidate the interlocutor, to kill without resorting to poison, leads to the hero's rebellion, ending in breaking the mirror and realizing imminent death; Vysotsky's hero enters into a confrontation with a black man, who is the embodiment of violence against the personality of the poet, an ominous sign of state violence, but in this confrontation his voice is lonely. The black man appears in different ways in the works of the three authors. So, there is nothing strange in the appearance of a black man in Mozart's house, because composers often wrote music to order. But Mozart is worried that this black man does not come for his order. The soul of the composer felt the herald of death, he was frightened and depressed. The careless composer, unaware of his greatness, indifferent to worldly fuss, to success and position, "composing music the way birds sing", lost his calm and serenity ("my black man does not give me peace day and night"). It seems to him that a black man is always there (“he is chasing me everywhere like a shadow”), he feels the breath of approaching death, it seems to him that he composed this mournful music for himself.

But if in Pushkin a black man behaved courteously towards a genius, then in Yesenin’s poem the stranger behaves impudently towards the hero (“sits on the bed”, “does not let him sleep all night”), “runs his finger over a vile book. ..”, as it turns out, it is about a book of life lived by a certain poet. A black man bites into the hero's face with eyes covered with "blue vomit" with a reminder of some sin committed by the poet. At first, the black man simply mutters, "making melancholy and fearful to the soul," then the tone of his voice rises, he wheezes, listing negative qualities and the sins of the poet and almost drives the latter to madness.

The black man in Vysotsky's poem behaves even more cruelly towards the hero, who cannot live without creativity, cannot but sing. In this poem, just like in Yesenin, it is impossible not to see the identification of the hero of the work with the author. Vysotsky's black man is outwardly quite decent, tastefully dressed, appears in different guises (“he was a minister, a house-governor, an officer”, the author masterfully uses a technique of carnivalization of Soviet life that was successful for this purpose), but always having some kind of position that allows him to rudely interfere in other people's affairs. Perhaps it is the impressive rank that allows the “black man in a gray suit”, without fear of a retaliatory strike, to strike “in the stomach, suddenly, for no reason”, pacifying the recalcitrant hero, preventing him from continuing the “battle”.

A black man who visited Mozart became a harbinger of his death. In Yesenin, a black man, listing the "sins" of the poet, draws an overly recognizable portrait to the interlocutor and drives the hero of the poem into a frenzy. The lyrical hero of Vysotsky is also pointed out to his weaknesses, bringing him to the brink between life and death. What are the moral qualities that characterize a black man that bring the heroes to a painful state? Why is it so painful for lyrical heroes to interfere in their personal lives, and why is it so difficult for them to come to terms with life's hardships that make them distract from creativity?

The work of A.S. Pushkin “Mozart and Salieri” is a kind of dispute about art, where two types of artist are presented with their own truth, but with different methods of creativity. Salieri's art is hard work, an endless and painful comprehension of the secrets of music. Mozart creates easily and freely. He does not comprehend the secret, but he himself is such a secret for Salieri. Salieri is indignant, he believes that Mozart is an "idle reveler", that he did not earn his heavenly songs, they got him for nothing. He is outraged by how little the frivolous Mozart appreciates what was given to him from above.

A dispute about art develops into a story about envy and friendship. Among the manuscripts of the Boldin period, the cover with the title written by Pushkin was preserved: “Envy”, - as the researchers suggest, this was one of the options for the name of the tragedy, which Pushkin subsequently abandoned, returning to the original title. Direct Mozart feels that the black man who came to him and Salieri are somehow connected. The naive Mozart guesses that something is going on in Salieri's soul, but in the name of friendship, he refuses to believe his suspicions.

Salieri's friendship from the very beginning of the action is poisoned by envy. He envies Mozart, whose genius is incomprehensible to him. From his point of view, the existence of Mozart violates some laws of the universe and Salieri believes that he was chosen from above in order to free humanity from Mozart and takes upon himself the right to judge: “I was chosen to stop him, otherwise we all died ". Salieri believes that everything is allowed to him, and black envy pushes him to kill.

Osip Mandelstam said: "In every poet there is both Mozart and Salieri." Yesenin's black man, just like Mozart's faceless visitor, has a strong influence on a person's emotions; is a vivid example of self-identification with him. During a time of tormenting insomnia, a black man comes to the hero of Yesenin's poem and sits on the bed. The book in the hands of a sinister black man says that he came to judge the poet according to his deeds, however, he chose all the most unsightly and evil. He talks about "a scoundrel and a bastard", about an adventurer "of the highest brand", about a "graceful poet" with "grasping strength". The lyrical hero refuses to speak with the intruder, he does not want to take a terrible story about the "crook and thief" that the black man is leading. The poet reproaches the night guest for daring to invade the depths and get something from the very bottom of the soul.

The night window in the poem resembles a mirror where everyone sees their own reflection - this is a hint of who this black man really is. Exact description lyrical hero: "a boy in a simple peasant family, yellow-haired, with blue eyes ... he became an adult, moreover, a poet" - leaves no doubt about who the night guest is mocking. The caustic mockery of "a woman in her forties, a nasty girl, his sweet" also points to the details. personal life Yesenin himself. The poet was forced to “appear smiling and simple” at a time when longing was tearing his heart, “in thunderstorms, in storms, in everyday life, with heavy losses and when you are sad”, only in this way could he hide from himself the darkness of impending hopelessness, associated with the internal contradictions of a person fueled by alcohol, and the realities of that time during the formation of the power of Bolshevism in Russia. The black man explains the life of the poet and reveals her self-deception: in melancholy and despondency, smiling with all her might and trying to pass it off as happiness. Therefore, the whole conversation with a black person can be interpreted as a reflection on life, as a fearless confession, the last, filled with determination and passionate emotions. The speech of the black man, this frightening second self of the hero of the poem, is a confession that the soul is trying to hide from itself.

At the climax of the poem, the black man attacks the most important thing, the essence of inspiration and poetry. He insults and humiliates the poet: “Like a pimply student student, a long-haired freak speaks of the worlds, expiring sexually with languor.” And the hero cannot stand it: enraged, enraged, he throws the cane "directly to his muzzle, into the bridge of his nose." Breaking the hated mirror, Yesenin's hero makes an attempt to defeat himself.

Pushkin once wrote about the incredible difficulty of public confession: “You love no one so much, you know no one as well as yourself ... You can not lie; to be sincere is a physical impossibility ... ”Yesenin overcame this physical impossibility: his sincerity in the poem“ Black Man ”was sustained to the end, in this it echoes Vysotsky’s poem“ My black man in a gray suit ... ”.

The lyrical hero of Vysotsky's poem is also identified with the poet himself. Vladimir Vysotsky fought all his life with officials who did not see his work as creativity and who saw in him only a thug, a drunkard, a vulgar man, a seeker of cheap popularity, an idol of pubs and doorways.

Not like Esenin’s brazenly and cheekily, but smiling and observing outward decorum, the black man in Vysotsky’s poem, taking on different guises and changing positions, dressed in a gray suit, but remaining with a black soul, interfered with creativity, deprived of inspiration (“broke wings"), leading to "pain and impotence", because the poet creates in order to live, and cannot otherwise.

With full confidence, ill-wishers "gossiped" about the hero, pointed to his so-called "sins": the presence of a summer residence, a three-room apartment, "a breakthrough of money", frequent trips to Paris, threatened to expel him from Russia. Numerous gossip and "slander behind the eyes" interfered with life, brought to the brink between life and death.

It is noteworthy that Vysotsky compares a black man with an "evil clown", which emphasizes the deceitfulness of his nature. The circus, clowns, as well as “arenas and arenas” are also present in other poems by V.S. Vysotsky (“Dialogue at the TV”, “I don’t like ...”), these images symbolize the attempts of all kinds of hypocrisy in society, when people are exchanged for small in the name of some false values.

The persecution and numerous prohibitions that a black man in a gray suit set for the lyrical hero reached such an extent that the hero could not sing, his wheezing "looked like a howl." Isn't this a comparison with a wolf's howl? Here I recall another poem by V.S. Vysotsky “Hunting for wolves” (1968), where the wolf is a symbol of the inner freedom of man. Wolf hunters are confident in their superiority, their calmness and efficiency, and at the same time the desire to destroy a person for love of freedom and unwillingness to live by someone else's rules, are somewhat reminiscent of a black man in a gray suit. After reading the poem “The time for introductions and preludes has passed ...”, we can be even more convinced of this: the image of “responsible comrades”, “ big people from the cabinets is too recognizable to be mistaken.

Being attacked, threatened to be "expelled from Russia", listening to "good advice" from "famous poets" on how to write poetry, lyrical hero poems "My black man in a gray suit ..." knows his own worth and "does not intend to hide from the court." He is a rebel, but at the same time the simplest person, he is mortal, but he is able to "pull his cart", that is, to fulfill his destiny as a poet and citizen. Noticing “what is false and what is holy,” the hero is able to maintain such qualities as honesty, decency, the ability to respect himself and maintain the respect of other people. For a poet, spiritual death is equivalent to physical death, for him “there is only one way” and “fortunately, there is no choice”, therefore he is ready to break all the rules, out of obedience to bureaucrats, he broke through “for red flags” and knocked on people’s hearts so that they “do not forget ".

So who is this black man for each of the poets? What is the meaning of this image?

2.3 Who is a black person for each of the poets?

We found out that three works: "Mozart and Salieri" by A.S. Pushkin, the poem by S.A. Yesenin "The Black Man" and the poem by V.S. Vysotsky "My black man in a gray suit ..." are connected by the image of a black man. Undoubtedly, the collective image of a black person is an image of the enemy of real talent, creativity not by order. the mighty of the world this, but at the call of the heart, at the inspiration. A black person takes upon himself the right to judge other people, to rudely interfere in their lives.

The black man in "Mozart and Salieri" is not just a real person, we feel that it is also the black conscience of Salieri himself, an envious person, an opponent of art, capable of any deceit, even the murder of a talented master, creator. A black man for Pushkin is a phenomenon of terrible, destructive, deadly envy, growing out of outwardly friendly, creative relations, which pushes to crime.

In Pushkin, a black man is a sign of an impending murder, while in Yesenin, he is a lyrical expression of the torment of the poet’s soul, who realized his own guilt for his “broken life”. Interpreting the image of a black man in his own way, S.A. Yesenin embodied in him not only the evil forces pursuing a creative person, but also the negative principles of the soul of the hero himself.

S.A. Yesenin worked in a difficult period for Russia in its history. Yesenin's work did not fit into the ideological framework defined for proletarian literature, and he was considered an anti-Soviet, "scandalous" poet. “My poetry is no longer needed here, and, perhaps, I myself am not needed here either,” Yesenin admits in the poem “Soviet Russia”. The black man in his poem is the fruit of a sick imagination, broken by alcohol and pangs of conscience for his ruined life.

“The nasty guest” - Yesenin’s black man is not only his personal enemy, he is the enemy of everything beautiful, the enemy of man. He personifies the black forces that live in everyone. And it is precisely in this that Yesenin's black man is close to Pushkin's image. The poem "The Black Man" is deeply individual, it is a confession, it is a battle for the Black man who lives in each of us, a battle for his bright "I". Such a battle can only be waged by sincere and honest people.

The work of V.S. Vysotsky was also not recognized by the official authorities, and in this they are similar to Yesenin. Vysotsky worked during the years of the so-called "stagnation", when any thought that was not approved by the ruling party and the government was considered immoral, any activity that did not receive permission in all instances of the bureaucratic apparatus was banned. V.S. Vysotsky did not fit into the usual clerical schemes, into the stereotypes of officials for the fact that in his poems he denounced and destroyed lies, inertia, routine, vulgarity and betrayal.

Vysotsky always had a heightened sense of social justice: he instantly noticed any violence and impotence around him, as he himself felt them when he was not given permission to perform in concert for a long time. Suffice it to note the fact that the poet, who left such a vast creative legacy, during his lifetime he did not publish a single collection of poetry. Creative inspiration gave wings to new achievements, and numerous prohibitions of bureaucrats broke these wings. The metaphor of broken wings is also repeatedly found in the poem "I do not love ..." (1968), and it was written much earlier than "My black man in a gray suit ...". This suggests that the theme of bureaucracy runs through many of V.S. Vysotsky's poems.

But the poet did not feel inwardly in the camp of the weak, who were beaten. He also experienced the burden of popular love and fame when his songs became popular, when people tried their best to get a ticket to the Taganka Theater to meet B.C. Vysotsky as an actor. He understood that the people love him, that almost everyone knows his work, and for the majority it is close and dear, as he denounced the vices of society, was a strong and staunch fighter against all kinds of lies and bureaucracy. In this struggle, he did not come out victorious, since it is very difficult to fight against bureaucracy. The hero of his poem "My black man in a gray suit ..." also tried to endure, swore: "Never again!" But in the fight against a black man in a gray suit, "the vein of patience burst," and this gives a tragic connotation to the poem.

The words of A.S. Pushkin are recalled: “... praise and slander were accepted with indifference, and do not challenge the fool.” Vysotsky, just like Pushkin, could not be indifferent to people who had forgotten honor, conscience, dignity, “... it’s annoying for me that the word“ honor ”is forgotten ...”, he says in one of his poems.

3. Conclusion.

The theme of the black man as a perspective for further research.

We have traced that the image of a black person is dynamic, that is, it changes, develops in certain socio-historical conditions. Despite the differences in the depiction of this hero in the works of A.S. Pushkin, S.A. Yesenin and V.S. Vysotsky, the main similarity is that this image is shown as a result of the poets’ reflection on the fate of a creative person.

Everyone has a black person, or rather: everyone who thought about the meaning of life and about moral values, who had his own view of things, his own opinion and character, has a black person.

After analyzing the work of the great poets of three historical eras, we can conclude that the image of a black man in literary work has been transformed. What has remained unchanged is his (a black man's) rejection of such creativity, which makes people think, affects the living, does not leave indifferent. A black man can be called "the great undesirer of good to anyone."

One unknown poetess Vera Kondrat wrote that the "knock of boots" of a black man will be heard by the one who:

Life was at least a little concerned,

Who went forward and lived not by the way,

Who wrote at least a couple of lines.

I think that's right, the black man's story is not over. The theme of good and evil, black and white excited and will excite the minds creative people who are not indifferent to the fate of their country, to the future of people. I am sure that the history of the black man can be developed in the future, since it has not been fully studied. Many authors have tried and will continue to try to understand the human essence, to understand what makes us human.

Addition to what has been said.

Classical literature gives an answer to many questions that all people have to solve in their lives, regardless of gender, nation, age. What is the sense of life? What is happiness? What is death? What is the most important thing for a person? Classical literature helps to solve these questions-problems. The classics raised in their works such problems that are timeless, they still do not lose their relevance.

Reading classical literature, you can be enriched spiritually and morally. Classical works remind the reader of the greatness of the human soul, of the need to cherish, appreciate and endlessly develop one's inner wealth. Therefore, with full confidence we can say: "Read the classics, there are answers to all questions!"

The involvement of schoolchildren in the study of literary texts contributes to their successful participation in Olympiads in the Russian language and literature. Over the past 3 years, my students have become winners of the municipal stage of the All-Russian Subject Olympiad: 2011 - 2 prize winners, 2012 - 2 prize winners, 2013 - 3 prize winners; in the International Distance Olympiad in Basic Sciences, the number of winners in 2013 reached 24.

Research activity in the twenty-first century is one of the priority areas for development modern education. That is why problematic lessons, the lessons of discovering the truth, the lessons of research are so relevant today.

Research activities in literature lessons should motivate students to search, develop the ability to independently summarize the material read or analyzed, give arguments and draw conclusions. The search for the necessary solution to the problem contributes to the formation of an independent position of students, their readiness for self-development and socialization.

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RESEARCH ACTIVITY OF STUDENTS IN THE LESSONS OF LITERATURE (from work experience)

The modern course of life with its speed and an avalanche of information makes high demands on the younger generation. You have to be smart, know a lot, work quickly and efficiently. An equally necessary element is research activity in the classroom, the value of which increases as one enters the information space where intellect is produced and consumed. In this situation, learning opportunities fiction do not decrease, but increase. Search, understanding, the ability to see the main thing, accurately express, correctly reproduce - all these elements of mental activity are components of a literature lesson.

From thoughtful reading of the text to its analysis, comparison, independent search for answers to questions, work with additional literature - this is the vector that is taken as the basis for work on research activities in literature lessons.

It is necessary to teach children to think, to independently find answers to their questions, to work with additional material from the very first lessons. Students need to understand that in literary creativity there are no ready-made answers and once and for all given patterns. You need to look for the answer yourself, only then you will see the result of your work.

Involvement in research activities should be already in the lower grades. It is much easier for a child to learn science by acting.

The experience gained in the course of work on the previous topic of self-education "Development of the creative abilities of students in the lessons of the Russian language and literature" allowed me to improve my activities in the lesson. The use of the research method in the classroom and in extracurricular activities is an integral part of the work to improve general educational skills in the context of school modernization.

By research activity, we mean the activity of students associated with the solution of a creative, research problem and presupposing the presence of the main stages characteristic of research in the scientific field.

The purpose of involving schoolchildren in educational research activities is to activate the personal position of students in educational process on the basis of independently acquired knowledge, as well as the development of the creative abilities of schoolchildren through the joint creative process of the teacher and student.

The involvement of schoolchildren in educational research activities contributes to the solution of the following tasks:

Development of interest in literature, expansion and updating of knowledge on the subject;

Formation of independence, creative development of solutions; - development of a creative approach to any kind of activity;

Formation of research skills; - expanding ideas about how to obtain information;

Development of communication skills;

Attracting schoolchildren to participate in olympiads, creative competitions, scientific and practical conferences.

Given the specifics school system, it would be correct to define the research activity of students as a creative process of joint activity of two subjects (teacher and student) in search of a solution to the unknown.

To organize research activities, the following elements are required:

1 - the individuality of the child;

2 - individuality of the teacher;

3 is an interesting object of study.

If one of the three components falls out of the system, then the system stops working. research activities as educational process can be divided into several stages.

I. Stage "It's interesting!" Every student has a passion for discovery and exploration. Doctor of Pedagogical Sciences A. I. Savenkov believes: "The propensity for research is characteristic of all children without exception." Even a poorly performing student shows interest in a subject if he manages to discover something himself. The task of the teacher is to arouse interest in the process of research activity, to captivate the content and method of doing the work. In the classroom or outside of school hours, the teacher introduces students to teaching and research activities using the example of the work of famous scientists or previously completed research work of schoolchildren.

II. Stage "Choose a topic" At this stage, the teacher determines the range of problems that need to be addressed, formulates the topics of the proposed research. There should be enough topics for students to choose. Research topic requirements:

The topic should be interesting to the child, take into account the peculiarities of his interests, inclinations;

Through the solution of the proposed topic, the student must maximize his creative potential, reveal the best sides your intellect;

The topic should be such that the work can be done relatively quickly;

The subject must be original.

Working together in choosing and approving topics creates an atmosphere of cooperation between students and the teacher.

III. Stage "Gathering information" One of the most important questions of this stage of work is where to get the necessary information related to the research problem. Material for work can be drawn from a variety of sources: dictionaries, reference books, encyclopedias, critical literature. Preference should be given to the most recent and authoritative sources. The selection of scientific facts is not a mechanical, but a creative process that requires purposeful work. Here is one of the algorithms for studying scientific literature.

1. General acquaintance with the work as a whole according to its table of contents.

2. Skim through all content.

3. Reading in the order of the sequence of the material.

4. Selective reading of any part of the work.

5. Extract of materials of interest.

6. Critical assessment of what was recorded, its editing and "clean" recording as a fragment of the text of the future work.

You can use another way of working with scientific literature. We divide the page of the notebook in half with a vertical line. On the one hand, we make extracts from what we read, on the other hand, we write down our comments, highlighting especially important places in the text by underlining words. Then your own thoughts, which arose in the course of acquaintance with other people's works, will serve as the basis for obtaining new knowledge. Information can also be obtained from the Internet. In the course of preparation, an information search plan is formed and drawn up in the form of a text file. Such a plan includes the name of the desired goals, a specific universal resource locator, keywords For search. It is useful at the beginning of the work to create several directories (with mnemonic names) in order to dump the found information into them. Careful selection and evaluation of information obtained from the Internet is necessary: ​​it is possible that most of it will be useless. What should you do if you cannot find the information you need on a certain topic? In the article "Children's Research in Homeschooling" A. I. Savenkov debunks some "pedagogical myths": "... it is generally believed that before doing their own

Research is a long and tedious study of everything that others have done before you. The history of discoveries and inventions suggests that all this is not at all true ... ”That is why in a number of our student research works the list of references contains mainly an indication of the literary texts being studied.

IV. Stage “We put forward a hypothesis” A hypothesis is a prediction of an event, this is probable knowledge that has not yet been proven. Professor P.P. Kokhanovsky gives the following definition of a hypothesis: “A hypothesis is a form theoretical knowledge, which contains an assumption formulated on the basis of a number of facts, true value which is indefinite and needs proof. The first thing that makes a hypothesis come into being is a problem. A hypothesis or hypotheses arise as possible solutions to a problem. These hypotheses are then tested in the course of the study. Hypothesis building is the basis of the process creative thinking. Hypotheses allow you to see the problem in a different light, look at the situation from the other side. Hypothesis is preceded by the following operations:

Observations on the text (texts) of works of art;

Analysis of individual facts relating to artistic images, the structure of the work, language features, individual features of the writer's style, etc.; - revealing something unexpected, new.

At this stage, it is advisable for the teacher to offer students exercises that allow them to develop the ability to put forward a hypothesis. When putting forward hypotheses, we use the following simple algorithm:

1) brainstorming (schoolchildren offer options for solving a problematic issue formulated by the teacher on the research topic - the more ideas and the more unexpected they are, the better);

2) classification of hypotheses into substantiated (supported by logical considerations and literary observations) and “provocative ideas” (according to A. I. Savenkov);

3) selection of the most interesting hypotheses.

You can also use the "Brain Attack -66" technique. Its essence is that the students of the class are divided into groups of 6 people and brainstorm for 6 minutes. After that, all the most interesting ideas are transferred to other groups for fantasizing and generating ideas by association. These secondary ideas are the basis for solving substantive problems.

V. Stage “We are looking for ways to solve the problem. This stage is characterized by the development of the search program. The teacher conducts organizational work to determine the types of activities on the research topic, helps to find all the ways leading to the achievement of the goal. Ways to solve problems largely depend on the topic.

The teacher needs to acquaint students with generally accepted, well-known, after which they need to make a choice, evaluating the effectiveness of each method. Most often, when performing research work on literature, we use such methods as an associative experiment, the method of deductive observation of a literary text, the method of classifying and generalizing facts.

VI. Stage “We systematize and summarize the data obtained” To facilitate the stage of systematization and generalization of the data obtained, it is necessary to accustom students to register the collected material. We fix each example from a work of art (quote with page indication) on a separate sheet of paper (specially prepared card) - their number can reach up to a thousand. For example, when performing the research work “Peculiarities of appeals in the poems of A. S. Pushkin”, we recorded 794 examples of appeals. This is one of the most time-consuming stages of research work. Simultaneously with the registration of the collected material, it should be grouped and classified. Classification provides the shortest and most correct way to enter the range of issues under consideration. It facilitates the search and helps to establish previously unnoticed connections and dependencies. Classification should be carried out during the entire process of studying the material. During and as a result of observations, a description of the research work is carried out. The description may be complete or incomplete, but always implies a certain systematization of the material. The material can be systematized in the form of tables, diagrams, graphs, diagrams, which are drawn up as an application.

VII. Stage “Preparing a project” The product of research activity most often becomes a “message”, a prototype of a “report”, an abstract, which in our case is called a research work. At this stage, the teacher advises students, coordinates their work, teaches the correct design of research work.

VIII. Stage "Defending the research work". Defense is the crowning achievement of research work and one of the main stages in teaching students research activities. A student who has made a discovery often wants to tell others about it. That is why the stage of defending the research work is important, first of all, not so much for those to whom the message is addressed, but for the one who talks about his discovery. It is necessary not only to tell about the work done, it must be protected. During the defense, the student learns to present the information obtained, to prove his point of view, to answer questions. The task of the speaker: to accurately and emotionally state the very essence of the study. During the report, it is unacceptable to read out the work, only a brief reflection of the main content of all chapters and sections of the work. It must be borne in mind that the duration of a speech allowed by the regulations is 10-15 minutes, therefore, when preparing a report, the most important thing must be selected from the text. When presenting the material, one should adhere to a plan that corresponds to the structure and logic of the research work itself.

In modern pedagogy, there are 3 levels of implementation " research learning».

First level involves the involvement of relatively a large number schoolchildren. At the same time, the subject matter is quite simple, diverse and necessarily corresponds to the interests of the author of the work. The activity of students at this level is reduced to the search for information on the chosen topic.

Second level requires, in addition to the ability to work with primary sources, the mandatory conduct of any experiments or other practical activities. For example: it can be conducting your own "public polls", questioning classmates, other groups of schoolchildren or other categories of people, self-collection of folklore or ethnographic material, and much more (for humanitarian work).

Third level research activity already requires significant efforts on the part of the student and the teacher. Here we need not only relevance and practical significance chosen topic, but also novelty in its development. That is, this research work should contain the author's conclusions and logical conclusions, own proposals for the experiment, independent interpretations of the results.

The simplest is the first level, when an adult poses a problem, he himself outlines a strategy and tactics for solving it. The solution is found by the child himself. At this level, students already work in the 5th grade.

In a literature lesson, I introduce the secret of reading a rebus, then the guys solve the puzzles that I give them. The next stage is the compilation of a collective puzzle. Then I pose a problem: make your own rebus based on the knowledge gained. The result of the study is a rebus created by the student. The same goes for the crossword puzzle.

At the lesson of literature "Composing a fairy tale" I strive to organize the work in such a way that all stages of the lesson are subordinated to the set goal - the assimilation of the laws of this genre, based on which students can create their work. To achieve these goals, it is planned to work on the content of the fairy tale: reading, commenting, conversation, figurative emotional perception of individual episodes and scenes, as well as acquaintance with new literary concepts. But most importantly, on the basis of this fairy tale, by the end of the lesson, I plan to lead the children to build a universal compositional scheme of the fairy tale, that is, I want to show them how it “forms”. Therefore, the epigraph to the lesson was the folk wisdom “Soon the fairy tale is told. It doesn't just add up." This thought runs like a red thread through the whole lesson.

2nd level. An adult poses a problem, but the child is looking for a method of solving it on his own. Collective search is allowed.

3rd level. Higher. Everything is done independently. Problem, search for methods, development of a solution. This level is allowed at the middle level, but is mainly used in the upper grades.

Of course, in each class, the methodology for conducting research is different.

In grades 5-6, research work is carried out, as a rule, in a collective-individual form: collective discussion of questions, individual recording of examples and answers. The teacher proposes the subject of research, directs and coordinates the activities of students during the work. In grades 7-8, work is carried out collectively, in groups and individually. The students themselves can suggest an object for research. The role of the teacher is changing: now he acts as a co-author, but still directs and coordinates the activities of students during the discussion.

In grades 9-11, research work is carried out in groups and individually (the main emphasis is on individual work). As a rule, tasks are compiled by the teacher and supplemented by students, a variant of collective creativity is possible. The teacher acts as a consultant.

At the middle level, I conduct the following types of literature lessons: analysis of a poem or episode; comparison of works by different authors (for example, poems by A.A. Fet and F.I. Tyutchev about nature); group work on the study of the text (each group is given a list of questions that the guys need to find the answer to).

In high school, research activities are somewhat specific and have a scientific focus.

The research activity of students should become a necessary element in literature lessons.

The Literature course provides many opportunities to develop research skills. Already at the first lesson on the topic “The role of books in human life”, we ask a problematic question: what is the significance of books and reading in people's lives? Riddles about the book, the librarian's speech, statistical data about the school's readers will allow students to get involved in the awareness of the problem and outline ways to solve it. Children, working with a textbook article, presentation slides, suddenly face a problem: if in the 20th century our country was the most reading country in the world, today the tradition of love for reading has begun to be lost. Let's use the Three Questions approach:
What do I know about the problem of the role of books in human life? What do I want to know? How to find out? The subject of research is the book.

I organize work in groups. The first group talks about the anatomy of the book (cover, spine, captal, flyleaf, frontispiece, title page, book block, column figure, lace, end title page, nahzats). The second group prepares the message "Guide to book pages" (title page, preface, table of contents, reference apparatus, illustrations, etc.). The third group systematizes the material on the topic: "The history of the life of the book." Children record the results of group presentations in notebooks and proceed to work with the statements of famous writers about the role of books in human life.

Quotes on the board:

Love the book with all your heart! She's not only yours best friend, but also a faithful companion to the end. E. Hemingway.

The book is magical. The book changed the world. It contains the memory of the human race, it is the mouthpiece of human thought.

A world without a book is a world of savages... V. Rozanov.

The book has always been for me an adviser, a comforter, eloquent and calm. J. Sand.

Without books, we now can neither live, nor fight, nor suffer, nor rejoice and win, nor confidently move towards that reasonable and wonderful future in which we unshakably believe. K. Paustovsky.

Reading is one of the sources of thinking and mental
development. V. Sukhomlinsky.

The book makes a person winged. F. Gladkov.

The next stage of the lesson is the questions of the teacher:

What books did you read in the summer?

What works have left their mark on your soul?

What role do books play in your life?

What books are read in your family?

Select from the works included in the list of "100 books" those that

Read by you.

Students draw conclusions and approach final stage- reflections: on the poster “Books that Grade 5 Chooses” specially attached to the board, they write down the names of their favorite books. Such a study was the reason for the creation of the research work "Reader's dossier of my class", the purpose of which was to determine the reading interests of peers, compiling a reader's dossier of the class.

An important role in creating situations that require the use of research skills is played by the organization of problem-dialogue interaction. Among the variety of methods of problem-dialogue technology, it is necessary to highlight:
- a dialogue leading to knowledge (a chain of questions feasible for students);
- Hypothesis-inducing dialogue (What are the assumptions? How can we test the hypothesis? What needs to be done? What action plan do you propose? Who thinks otherwise?).
The simplest but most effective technique in the lessons of discovering the truth is to present conflicting facts to a class. For example, the problem of the authorship of the novel by M. A. Sholokhov "The Quiet Don" in the 11th grade, the facts of the biography of S. A. Yesenin in the 9th grade, the fate of Andrei Sokolov and Soviet prisoners of war during the Great Patriotic War(according to the story of M. A. Sholokhov “The Fate of a Man”, Grade 9). Such literature lessons are also productive within the framework of problematic - dialogue learning where different opinions of students collide in combination with a question or practical task on the new material. (The problem of education in the story of I. A. Bunin "Numbers": to indulge children's tears or stand on their own? The problem of attitude towards the main character: what is more - condemnation or sympathy does Pechorin deserve?).

- Researching the text. Example: “Poetic chronotope in the ballad by V. Zhukovsky “Svetlana”.
- "Unravel the mystery of the word." Example: “What is the word “scarlet” from the Tale of Igor's Campaign concealing? "The secret of the word "Builder" in the ode of M. V. Lomonosov."
- "Attention: experiment." Example: "V. V. Mayakovsky's word creation: neglect of the norms of the Russian language or the creation of neologisms for a special artistic effect?".

- "The subject as a problem." Example: Before studying the story by D. Defoe "Robinson Crusoe" is created problem situation: imagine that you find yourself on a desert island. The next question is: How would you feel about doing it? The teacher offers to turn to the work and see how the hero behaves.

When analyzing literary works, it is also advisable to use such a research technique as the compilation of a cluster (a conditional scheme that logically links certain concepts to each other). So, using this technique, during a lesson in grade 7