The fate of the war saw the development of not only advanced genres. In its own way, that varied prose is no less rich. Vaughn is represented by journalistic and fictional genres, military accounts and heroic stories.
Very diverse journalistic genres: statistics, drawings, pamphlets, feuilletons, beasts, leaves, leaflets, etc. Articles were written in political, historical, patriotic, military and other topics. Perhaps, once a writer, who would have tried his powers directly with someone. That’s it: the journalistic genre is bi, so be moving, direct guidance on the enemy. The statistics were written by L. Leonov, A. Tolstoy, M. Sholokhov, I. Yerenburg, Nd. Vishnevsky, N. Tikhonov, B. Gorbatov, O. Dovzhenko and in.
Like all Radian journalists, the writers tried with their articles to actively help the victims of the witchcraft. The stinks inspired high-minded sentiments among people, revealed the true denunciations of the organizers of the “new order” and began to unapologetically approach fascism.
The writers opposed the fascist bullshit propaganda to the great human truth. Hundreds of articles contained uncontroversial facts about the atrocities of prison guards, quoted documents, swindlers, statements of military service certificates, named names, dates, numbers, sent messages on secret documents, punishments and orders of power, etc. According to the evidence themselves, and not like other chroniclers, “information” became a feature of the angry vikrit. Axis, for example, as L. Leonov confirms his “testimony” in the article “Lyut”: “Over the past month, I have visited a lot of places in Russia and Ukraine and have been quite amazed at your accomplishments, Nimechina. I see the deserted places, like the stone shimmer of Khara-Khoto, where there are no dogs, no graves, - I see the erased Gomel from the earth, the destruction of Chernihiv, the inscrutable Yukhnov. I visited unfortunate Kiev and after a terrible rage, the ashes of a hundred thousand of our people were scattered in the incineration. This Babin Yar looks like a pekelny river that is carrying a child’s shoes that are not burned, mixed with human remains.”
Military journalists circulated reports, sheets, articles sent to officers, soldiers, soldiers of Leningrad, partisans of Ukraine and Belarus, to workers in the military, to wives and children and descendants. until the next generation. In their articles, they told the people the truth about the war, encouraged the people's peace about victory, sincerely spoke about the Batkivshchina, about life and death, and called for perseverance, courage and commitment. The most important year old man's voice sounded like an order. “No way!” - This is how A. Tolstoy’s story begins.
In “Pulkovo Meridian” the main priority is given to the journalistic solution of those with a detailed, even scrupulous depiction (“Save the world, the planet from the plague - the axis of humanism! And humanism - we”); Prokofiev in his poem reveals the image of Russia lyrically, without going into details, “Moscow is threatened by an enemy.” In the summer of 1942, when our troops lost Rostov, they stood up for the Don, A. Tolstoy came out, so that the soldiers said to their conscience: “Stay! Not a moment ago! Stay, Russian people, put your feet on our native land.” I stood up for this very reason. Erenburg, B. Gorbatov, Dovzhenko and other writers. L. Leonov writes famous leaves to an unknown American friend. From time to time, statistics appeared that scourged fear and cowardice. This, for example, is the story of Vsevolod Vishnevsky “Death to cowards!”
Next comes the army, our publicists sent the order to the Batkivshchyna: “Don’t give the enemy a turn!” Through the words of artist-publicists, Batkivshchina spoke to the inhabitants of Moscow and Leningrad, Stalingrad and Sevastopol, Kursk and Belgorod. The voice of the publicist reached particular power when it came to the fate of the Batkivshchyna ("Batkivshchyna" by O. Tolstoy, "The Mind of Kiev" by L. Leonov, "The Soul of Russia" by I. Yerenburg, "The Power of Russia" by M. Tikhonov, "Lessons of History" by N. Vishnevsky).
Journalism 1941 – 1945 developed in line with the finest traditions of journalism. It's time for new rice to come up. Publicists started talking not only about the greatness of Zhovten, but also about the living traditions of the past, about the national character of the people. “Russia”, “Rus”, “Russian land” and other similar names dominated the headings of articles. Images of ancient Russian places, glorified by the river people, pictures of Russian plains, eagerly painted by publicists, gave the articles a unique flavor.
The strengthening of national-patriotic motives was accompanied by an increase in emotional tension in journalism and the convergence of articles with poetry. This title of written journalism, known from the rich, short articles written by A. Tolstoy, L. Leonov, Yerenburg and other well-known writers, is guarded against the obvious predominance of the emotional-figurative element over the logical one. In connection with this, the genre nature of journalism was modified. Journalism has been transformed, head over heels, into poetry. Some descendants characterized Western journalism (with respect to its lyricism and imagery) as artistic creativity between prose and poetry – closer to poetry.”
These judgments are not absolute, but there seems to be a part of the truth in them; the basis of the journalistic article is not an image, but a logically explained idea that may have actual political significance. Vaughn, who, like a lyric poet, reaches the reader’s sense of understanding through an image-experience, gives facts that may simply have cognitive significance, an emotional character, and the whole thing is the unity of a poetic idea. The journalistic idea determines the structure of the article, instills the power of a biased monologue, language, brutalized to people. These are the most beautiful statistics of military history.
For example, the aesthetic center, the pathos of A. Tolstoy’s article “Batkivshchina” stirs the patriotic writer’s thoughts about the share of Batkivshchina during a year of difficult trials. The artist strives to reach the past in order to embrace even greater love for the present and to strengthen his faith in the inviolability of the Russian land. The image of a bearded ancestor is not a poetic presentation of the expression of the lyrical “I”, this is an image of experience, carrying out the story of the ancient history and depicting the same patriotic spirit, everything that the ancestor “envisioned” - and “chervona” Shields of Igor", and "Stogin of the Russians" on Kaltsi”, and “men’s records on the Kulikovo Field”, and “the bloody cast ice of Lake Peipsi” until the hour when “the European powers had a chance to push back and take the place of Russia at the “red cove”, and would appear before the people and the revolution єyu - all this is a lyrical illumination of the past, history, melted into love and hatred. “Batkivshchina” by A. Tolstoy is a whole lyricism in prose, a song about the viciousness that never came from the depths.
Of course, between “simply” journalism and artistic journalism. The stench of Western journalism is resonating: in the last articles of these fates, our writers rose to the level of modern poetry.
The mystical journalism of 1941-1945 is united in its ideological basis. very varied in shape. All this diversity was attributed to the creative individuality of the writer. Tolstoy the publicist was characterized by his reliance on fact alone, his passionate image, his calm, peaceful intonation. Vsevolod Vishnevsky spoke like a half-hearted speaker in his articles. You click not to think, but to act. Illy Yerenburg’s favorite way to create articles is contrast. Short author's remarks based on indetailed sarcasm. Leonid Leonov is adept at broad philosophical speculations, at deep thoughts, at thoughtfulness. B. Gorbatov was most fond of intimate, heartfelt discussions with the reader (“Comrade’s Leaves”).
Behind the mood, behind the tone, Western journalism was either satirical or lyrical. In satirical articles, the fascist prison guards were mercilessly ridiculed. The pamphlet has become a favorite genre of satirical journalism.
The statistics, brutalized to the Batkivshchyna, to the people, were a little sincerely lyrical and were even more diverse in genre. Traditional statistical versions, zaklik, zverennya, leaves, schodenniki, statistical novels and other varieties of journalistic forms were widely and cheerfully vikorized by publicists: Writers spoke not about the “purity” of the genre, but about the strength and integrity of the genre ttiv and often joined in one work and article a novella, a journalistic sheet, and elements of a pamphlet. Such, for example, is another sheet by Leonid Leonov “To the Invisible American Friend.”
Writers often gave their articles a rhythmic character, introducing into the text their own refrains, parallelisms, inversions, translations, and rhetorical elements. The authors ignored the accuracy of the choice of stylistic and emotional-expressive features of the language, boldly emphasizing “high” and “low” vocabulary when characterizing opposing social forces. So, for L. Leonov, the soldiers of our army are “workers of goodness and truth,” and the Hitlerites are “obvious green mold,” “two-legged creatures,” “the ford,” etc.
Journalism has influenced all genres of literature of military rocks and especially in the picture. Similar to journalists and lyricists, writers tried to stay abreast of military issues and played the role of a kind of literary scouts. From them the world has already learned about the immortal names of Zoya Kosmodemyanskaya, Liza Chaikina, Oleksandr Matrosov, about the feat of the Panfilians, about the heroism of the Young Guards. The poem “Kirov is with us”, the story “Days and Nights”, the novel “Young Guard” were inspired by the drawings of these authors themselves.
The front-line drawing begins its journey with a report, with a description of combat episodes. Before two or three months had passed, three main types of drawing emerged: portrait, road, and side. Moreover, some of them recognized the evolution.
The first portraits were drawn as a description of the heroic feat of this or that Radian patriot. Then the writers begin to focus more on their exploits, and everyday life at the front, the difficult journey of a soldier’s formation. Characteristic is the drawing by V. Kozhevnikov “National War” (Luty 1943).
Pyotr Lidov’s drawings “Tanya” and “Who was Tanya” (b. 1942) about Zoya Kosmodemyanska opened a gallery of portraits of famous heroes of the Great Patriotic War - Lizi Chaikina, Oleksandr Matrosov, Kostyantin Zaslonov, the Ignat brothers them, Oleksandra. .
The number of expansions, especially in 1943-1945, is about the feat of a great group of people. Thus, there are drawings about the 62nd Army (V. Velichko), about the modern U-2 aviation (K. Simonova), about the heroic Komsomol (Vs. Vishnevsky), etc. M. Sholokhov, O. Fadiev, M. Tikhonov, in their drawings, present a portrait to the people of what appears to be the image of the Fatherland. Wonderfully poetic journalistic drawings dedicated to Ukraine and Belarus (“Ukraine is Humming” by O. Korniychuk, “Glory to the Warrior People” by O. Dovzhenko, “On the Fields of Belarus” by Vl. Lidin). The historical portrait of the Batkivshchyna was created in the drawings of M. Tikhonov “1919-1942”, L. Martinov “Lukomor’ya”, Nd. Vishnevsky "The Collapse of Ostland".
Drawings dedicated to the heroic style are also portrait paintings. Moreover, from the beginning, writers develop respect and not so much for the share of local heroes, but for mass labor heroism. M. Shaginyan, E. wrote most intensively about people. Kononenko, A. Karavaeva, A. Kolosov.
The theme of “turning” is the most typical for road painting. Winter offensive 1941/42. gave rise to a whole series of articles about the return of the towns and villages that were conquered by the fascists (“Mistechko” by E. Gabrilovich, “Cursed and Osmified” by V. Grossman, “On the Sunset” by E. Petrova and others). From the offensive battles of 1942-1943. knitted with drawings by A. Fadeev,
A. Surkov, B. Gorbatov, A. Tvardovsky, L. Pervomaisky, N. Gribachov. A massive flow of large numbers of paintings was observed in 1944-1945. The scribes cut through the army at once and describe stage by stage as they move. Thus, L. Sobolev in his cycle of drawings “Overcame the Roads” (“Pravda”, 1944) talks about the liberation of Minsk, Odessa, Sevastopol, and the capture of Constantinople and Bucharest. Nd. Ivanov creates the painting “Russians near Berlin” (born 1945). At the end of the war, there appears to be a large number of drawings that indicate the progress of our troops. The liberation of the peoples of Europe under the fascist yoke is revealed in the drawings of L. Slavin “On Polish Land”, B. Polovoy “Along the Upper Silesia”, “In the depths of Europe” by P. Pavlenko, “The Road to Berlin”
B. Grossman, etc.
The portrait paintings depicted the heroism of the native people, and the road paintings focused on the description of the image of the native land, tortured by the fascists, and the fallen ones.
Europe, then this is an artistic chronicle of military operations. Moreover, the main element is the heroism of the people. This drawing includes portrait characteristics, descriptions, power of road drawing, and a journalistic element. It originates from “combat episodes”, which initially filled the central and front-line newspapers. The defense of Leningrad and the battle of Moscow became the reason for the creation of low drawings, those who were afraid to try to move on to a description of the battle episodes before the end. About this date, draw “Moscow. Leaf fall 1941 fate” by V. Lidina, “Lipen-chest” by K. Simonov. The tenacity of Leningraders is demonstrated in the journalistic drawings of Nd. Vishnevsky “Zhovten on the Baltic” and M. Tikhonov “Kirov with us”. M. Tikhonov creates a great number of drawings about the Leningrad epic. Among them are the “Battle for Leningrad”, “Misto-Front”, the cycle of drawings “Leningrad River” (1943) and the drawing “Peremoga!”. The creativity of the artists of Nd is connected with Leningrad and the Baltic. Vishnevsky, V. Sayanov, V. Ketlinskaya, O. Berggolts, V. Inber, M. Chukovsky and the book of drawings by A. Fadiev “Leningrad at the Day of the Siege”. The Battle of Stalingrad was depicted in a series of drawings by V. Grossman, K. Simonov, E. Krieger, B. Polovoy, V. Koroteeva and in.
In the depicted military era, our drawings followed L. Tolstoy. The traditions of “Sevastopol Accounts” are evident in the composition, in the principles of presenting the material, and in the depiction of folk heroism. M. Tikhonov, as shown in the picture, reaches a special mastery. Draw “Leningrad at the Travna”, “Leningrad at the Black Sea”, “Leningrad at the Lipna” 1942, etc. right up to the drawing “Leningrad at the Sichna 1944”. Peremoga! - this is not so much a chronicle of this great battle in itself, as it is an artistic description of the fighting spirit of the people, but it is important, because no archival document can save for posterity the hundredth part of what the artist’s eye can catch. M. Tikhonov shows how Leningrad and its inhabitants lived day after day, month after month.
In these drawings they knew the fight for the Caucasus (B. Gorbatov), for the sake of Donbas (N. Gribachov,
Art. on the entire front in 1944-1945, they were not able to follow the directions. And although sometimes the burial of drawings by the nobles led to an unjustifiably excessive respect for the enemy, until his experience at the day of defeat and capitulation (L. Slavin, M. Gus, B. Agapov and others), the goal of portraits, road and underground front-line drawings have conquered their These recognitions paved the way for other genres, even before they were recognized.
Since the story “is an episode with endless consumption of people’s shares”, which, according to Belinsky, in one mile includes so many lives that cannot be lived in a century, then the Vitchinian War was especially generous with this kind of epi. Come on. The war, it seemed, was itself laying claim to the role of “evidence,” and the artist was deprived of his position as a secretary. This often caused those that were discovered in 1941-1945. V. becomes a notable literary phenomenon. They fight on the pages of newspapers and magazines, and appear in other books.
However, the successes of this genre, compared with other genres of such rock, are remarkably modest, and its way is even more impressive. The first step towards the revelation of these fates was, although paradoxically, a great number of these very episodes that happened. The writer of military fates, in order to be a witness, needed to subdue the gravity of the fact, to “strangle” the drawings in himself, to rise to a new level of artistic expression.
The drawing “glorifies” real facts, indicating the action, drawn and infused with it, as it is useful to create, rather than from the ready-made, given actionable material. The author creates characters and places them “in such relationships with each other that novels or stories are created by themselves” (V.G. Belinsky). The proven author has never been able to move from drawing to revelation.
At the beginning of the war and thereafter, a number of sources showed a tendency towards a hybno-romantic depiction of heroic deeds. Vaughn hit on B. Lavrenev (“The Foreman’s Gift,” 1942), Vl. Lidina (film “Simple Life”, 1943), L. Kassilya (“Such People”, 1943), V. Illenkova (“Defense of the Village”, 1942), F. Panferova, L. Nikulina and others. The Germans were portrayed in these works as extremely bad and fearful soldiers, from whom the heroes deal without hard work, for an hour without an armor, and with the help of a club, a poker, a hmiz, a ladle of water (“The Old Water Carrier” by V. Kozhevnikov), etc. This type The reports did not ruin the glory of the military literature.
However, during the rocks of the war, the true romantic story never blossomed. She had a passion, without any reason, to overcome the enemy. Without exaggeration, we can say that nine out of ten wartime stories are associated with the poeticization of military exploits. This topic is traditional for the Radian religion. Interest in it did not fade away during the hours of the huge war, and at the end of the 30s it became stronger in connection with the waters of Lake Khasan and in. A number of truthful works in the accounts of the 1930s became more frequent - and often - more lightly, thoughtlessly depictions of the war. The dawn of the first months of the Great Patriotic War forced our literature to radically change course. A more truthful depiction of the war, more powerful in the direction of our mystery, and a shift on every literary front.
Already in the first month of the war, evidence appears to be not entirely essential for pre-war prose (“Nightingales” by L. Sobolev, “At the Mountains” by I. Aramilov). Their unconventionality dominated the choice (the theme itself was war), and the romantically elevated, intellectual manner contributed.
In 1942-1943 pp. The number of romantic short stories is significantly increasing: “The Soul of the Sea” by L. Sobolev, “Mother” by O. Dovzhenko, “The China Troy” by B. Lavrenev, “The Tale of Ivan Spiteweather” by M. Lyashko, “The Sailor Child”, “The Tree of Fatherland”, “Armor”, “Spiritualized People” by A. Platonov, “The Soul of the Ship” by L. Solovyov, the works of V. Kaverin, P. Pavlenko, M. Tikhonov, K. Paustovsky, P. Skosirov and others.
In 1944-1945 pp. The flow of romantic stories is getting weaker. Please don't leave the scene. Inheriting the butt
Jl. Sobolev, writers create cycles of short stories: “Sevastopol Stone” by L. Solovyov, “Russian Nights” by M. Lyashko, “Burn That Night” by V. Kozina and others. The accounts poetize the exploits of sailors (L. Sobolev, L. Solovyov), spies and partisans (N. Lyashko), mothers of warriors (O. Dovzhenko), staunch and courageous commanders (V. Kozhevnikov), pilots, artilleryman ів, old and children then . In this place there is a poeticization of the high moral values of the Radyan people, the education of the pure, the offered and self-given food (M. Prishvin, K. Paustovsky).
The emotional din of the romantic short stories is varied, but the tone of the heroic presentation is important, without at all losing the brilliance of sincerity and sincerity.
There are a lot of romantic stories based on factual material. The heroes of L. Sobolev’s novel “The Soul of the Sea” are, as a rule, taken from life. A. Platonov’s account “Spiritualized People” is based on the feat of political instructor Filchenkov and his comrades. Legends were created by life itself, based on the truthfulness of the accounts of military fates written in a romantic way. As a rule, it is not typical for traditional romanticism to be complicated and confusing in the plot, various stylistic embellishments, etc. Such biased little evidence of L. Sobolev, based on reliable legends.
Even though the romantic stories of military fates are not believable, realistic accounts of them are very disconcerting. The details begin right before the plot. While the plot of a realistic story is reliable, a romantic story is most often inspired by situations of a guilty nature. In L. Sobolev’s novella “Battalion of Four,” it is revealed how four Radian soldiers, cradling in the arms of a wounded comrade, fought off hundreds of enemies, broke through the ring of isolation and reached their own. The foreman - sailor Petrishchev (“The Soul of the Ship” by L. Solovyov) died three times and rose from the dead three times in order to beat the hated enemy. In the article “The World of Hardness”, V. Kozhevnikov talks about a fantastically unbearable machine gunner, who, without letting go of an important machine gun, was then crushed by a concrete beam that collapsed, crushing his legs. A world of resilience for the heroes of romantic stories is the flock of the overworld.
Romantic heroes JI. Soboleva, JI. Nightingale and other sources are wholesome in nature. Fighting is a necessity of life, and heroism is a natural manifestation of this struggle. People stink. For them there is no unexplained nutrition, “but or not.” It's all about struggle, less about victory! They do not ignore insecurities, but go ahead of them and perform heroic deeds at the behest of their powerful conscience. Such are, for example, the explorers from the novel “I mortar battle” JI. Soboleva, an important woman Maria Stoyan, who snatched up the Radyansky boys, from the testimony of “Mother” O. Dovzhenko.
J1. Sobol in the story about the “sea soul” sees one between the Radian sailor - his uncomplicated goodness, courage and courage in the fight against enemies - and abstracts himself from others. He is stingy on everyday or psychological details, and may say nothing about the past of his heroes, about their special abilities, similarities or characters. Do not cite the author and ethnographic drawings of the heroes. We don’t know whether the stench comes from Siberia, Belarus or the Urals. His heroes live by molded re-constitutions. This principle is emphasized in the description of heroes by A. Platonov, JI. Solovyov and other authors of romantic stories.
The poetics of romantic stories was ordered by one thing - to show the heroic deeds of people in the most vivid and complete form. The romantic form of formalization did not reflect either the truth of the fact or the aesthetic likeness of the people. These novels have lost a significant trace of the history of Russian literature.
No matter how important the achievements of romantic novelists were, the basis of the foundations was still formed by a concretely realistic novel: the evidence of M. Tikhonov, B. Gorbatov, F. Gladkov, K. Simonov and others. One of the most striking such descriptions was “Russian Character” by Oleksii Tolstoy.
The basis of O. Tolstoy’s evidence, apparently, is documentary. The artist has transformed a concrete fact of life and created a living and rich image of the Russian warrior Yegor Dremov. In the beginning of the war, the compositional scheme of recognition was expanded. The novel has three distinct voices: the voice of the reasonable, cautious witness of Ivan Sudarev, the author, and the voice of Yegor Dremov himself. Therefore, this richness of voices reveals a voluminous and varied character. Unusual details of life, marked by the hero, drawings of character, subtly “commented” by the testimony, in the middle prepare the author’s references and give them a completely reliable character. The final lines of the patriotic writer end the story with an epic ending: “So, the stink, Russian tributes! It looks like a simple person, but when the world comes, it will be great, and there will be great power to rise in the new - human beauty.”
With great depth and epic scope, M. Sholokhov painted the national character of the Russian warrior, following the formation of a soldier in the proverbial “Science of Hate.”
Romantic and realistic accounts of the military rocks are rich in the reader’s statements about the image of the people during the war, and at the same time, from the drawing, we can pave the way to the heroic story, naming the main plot nodes in the lost lab The truths of the richly populated army and human shares.
Illya Yerenburg, during the hour of the war, repeatedly confirmed that the dugout “cannot write a story or write a novel, and the soldiers can’t read it.” “Everything,” he said, “will only become possible after victory.” However, in spite of the fact that we sing about a hundred times, only Russian literature has published more than a hundred stories and novels. Perhaps everything is connected with the bitter theme of modernity - the theme of war.
The first great works about the war were “Russian Tale” by P. Pavlenko, “Guards” by Y. Libedinsky, “On the Eyes of God” by F. Panferov (since - March 1942). The stench of the author's apprehension is to surround the battle plot, to represent the heroic hour, to outline the characters. However, these stories turned out to be incomplete in many ways. Writers were inundated with “pictures” of battles, descriptions of happy undefeated women, fights and various exploits. This type of work has appeared in the past (“The Golden Eye” by L. Nikulin, “National Day” by G. Fish, “Your Comrade” by S. Krushinsky, etc.). The ideological, cognitive and aesthetic significance of these works is small. The stench of the singing world served as the beginning of the emergence of cool and true stories about soldiers’ everyday life (“Volokolamsk Highway” by A. Beck, “Days and Nights” by K. Simonov, “Division Commander” by G. Berezko and others).
A. Beck strongly opposes the primitive depiction of the war and the Radian soldier in the war, evilly mocking the “corporals in literature” who write about fighters who knew no fear and were eager to fight. Similar aesthetic positions were taken by K. Simonov and G. Berezko. War is given to these creatures without embellishment. Drank, smoke, smoke, night darkness, endless fountains of vibukhs, automatic crackling, gurgling, noise and the dull sound of everything - the axis of the landscape of the story “Days and Nights”, and the background and color. In the story of G. Berezka, the soldiers do not rush into the attack, but walk through the swampy swamp, struggling in the porridge. “Don’t look to me for paintings of nature,” the main character of “Volokolamsk Highway” leads the way.
While in the works mentioned above victories were achieved quite easily, in the stories of A. Bek, K. Simonov, G. Berezko they are won at the cost of inhuman battles. The attacks of the regiments of Divisional Commander Bogdanov (“Division Commander”) falter one after another. It is extremely important for the inhabitants of the Volokolamsk Highway to escape the pressure of the German hordes. Three things are important to the heroes of “Days and Nights” near Stalingrad. But these incredible, inhuman difficulties are carried on the shoulders of very special people: captain Saburov (“Days and Nights”), private division commander Bogdanov (“Division Commander”). They know they have the strength to stand and overcome the enemy.
A. Beck, K. Simonov and Chastkovo G. Berezko do not talk about battles in the same way, but rather explore the reasons for the viability of their heroes, the nature of their patriotism and come to the rescue, so that the keys to victory are not just saved in the hero great exploits of fearless heroes, and in everyday battle, fight smartly. “The soldier will not die, but live,” said General Panfilov.
The heroes of the analyzed stories are alien to pathos, hateful to phrases. They are stingy with words, they stream in almost subtle ways, they are active and energetic. Friendly, calm, active and in the most popular style,
The stories of A. Beck, K. Simonov, G. Berezko have a new turn in themes. In the future, not without influx L.N. Tolstoy, who in “Sevastopol Evidence”, in “War and Peace” battles with music and drumbeats against the “prose” of the war, and tells the truth.
“Volokolamsk Highway”, “Days and Nights”, “Division Commander” are a significant feature of the prose of military fates. These works lacked the same epic breadth that I myself had achieved. The subject of the image is the people's war. First of all, in the works analyzed, the people's evidence of war is intimately connected with one person. The line between “I” and “my battalion”, “my division” is not known during the development of the situation, but it will never be resolved. The commander's will is often expressed in a non-turbulent environment, which is important to blame “maybe”, against the powerful army of soldiers (“Volokolamsk Highway”); The commander’s unity becomes the initial role of his behavior (“Division Commander”); ordinary wars are stereotyped and schematic (“Days and Nights”).
The presence of organic anger in the masses negatively affected the character of the main characters. On the other hand, as a result of criticism, Captain Saburov, as a particularity of relationships, is dry, and the love line in the story “Days and Nights” is clearly not included. Mamish-wooly is straightforward and somewhat dogmatic when interacting with people. All the complexity of a soldier’s psychology cannot be included in the formula: fear and fearlessness (the first magazine edition of the story was entitled: “A story about fear and fearlessness”). Humanity, the wiser father’s position before the soldiers, the tableaus characteristic of Panfilov, the nibi fade away from the nature of the battalion commander. With an even larger base you can do the same thing with G. Berezka.
Inheriting the best traditions of Russian battle prose, A. Bek, K. Simonov, G. Berezko said a lot of truth about the war, about active patriotism, about changing money, about front-line comradeship. Their works have serious educational value, but they have not yet been able to properly pose the problem of creating a national character.
V. Grossman (“The Immortal People”), V. Vasilevska (“Raiduga”), B. Gorbatov (“Neskorenі”) came up before her. I created them from different aesthetic positions, in a different stylistic key.
V. Grossman effortlessly and completely convincingly tried to think about the national character of the war. It introduces a large number of active personalities, creates numerous mass soldier scenes, creates roars, heat, laughter, super-churches of soldiers, etc. bud. Povist is densely populated. Both soldiers and civilians are united in the fight against the hated enemy.
The story "The Immortal People" is lyrical. The poetic idea of the people's war found particularly deep expression through the lyrical cob. Direct and indirect lyrical approaches cement the evidence, expand the radius of the position that looks around, give a sense to the numerous disparate manifestations of the war that are reflected in the story. The author’s “I” embraces the place burning in the night, the colonies of the Radyan units that are advancing, and the mournful village along that side of the Viysk border... The author miraculously conveys the secluded atmosphere of the first Viysk autumn, creating such titles as A bright image for the people, paints a broad epic a picture of war, including a tabir of enemies.
The central conflict arises not from the internal experience (fear and fearlessness in the Volokolamsk Highway story), but rather from the main conflict of the era: the conflict between two forces - Russia, the Fatherland Leninism and fascist Germany - the most familiar plot expressions in the essence of Mertsalov and Bogarev with German Colonel and Semyon Ignatiev duel with the fascist. When portraying heroes, W. Grossman is not as much about individualizing characters as he is about creating folk national types. So, Meretsalova Vin overlive, Bogarev - Rosum, Cherednichenko Naziva “soldierly kutuzim”, and Semen izhnatuyv is in risi folk character: Vidchayudushna well done, guilty, sincere, beautiful, dotep.
Similar principles of depiction lie at the basis of “Raiduga” and “Indiscriminate”. For all the individuality of the handwritings of V. Vasilevskaya and B. Gorbatov, there is one thing to strive for: to show as widely as possible the old partisan war. At “Raiduz” the entire village is actively surrendering to the Germans. Mount Oleni Kostyuk is the grief of every village, all of Ukraine. The artist paints the image of Ukraine - “with blood and half, with a strangled song on the lips, with food, torn apart by a German boot.” Olena Kostyuk, partisan mother, rises to the image-symbol of mother-fatherland, fearless and insurmountable. B. Gorbatov, through the images of Taras and his son Stepan, who joke about one unruined place, the other - an unconquered soul, paints an epic picture of a nationwide war. The family of Taras is a separate place for the people to fight. Everything that tortures and tortures old Taras, the land of the Cossacks-Cossacks, idolized by Gogol, tortures and tortures the whole people. His share is the people’s share: “All the people are waiting for the car, yshov and old Taras.”
Taras Pochatkov’s position “we don’t bother” became a form of support for the enemy. Vaughn, for example, did not at all recall Mr. Bunting’s “philosophy of non-giving” from the novel by the English writer Robert Greenwood “Mr. Bunting in the Days of Peace and War.” Banting adopted the philosophy “we are not bothered” in order to avoid the struggle, to isolate himself in his narrow bourgeois world. This indifferentism is inextricable. Taras Yatsenko, having transformed his apartment “into a pure pillbox”, from the beginning to an active support. “My blues did not stand up in defense. I'll stand up. “I’m waiting,” old Taras said to himself. And the power that could destroy Taras from his place and turn the old robot worker into a slave had not yet come into being.
The analyzed works are extremely dramatic. V. Vasilevska and B. Gorbatov show the gates of all animal life. The image of Captain Werner (“Raidug”), which shoots into the small face of a newly born unborn child raised to death in the eyes of his godly mother, makes him shudder at the skepticism of bourgeois journalists.
Epic breadth in “Raiduz”, “Neverskorenny”, “Immortal People” becomes the main image-creating principle. The images of Semyon Ignatiev, Olenya Kostyuk, Taras Yatsenko go beyond individual characters and are transformed into nominal ones. This contradicts the traditional heroic epic. At the same time, it should be emphasized that V. Grossman, V. Vasilevska and B. Gorbatov, in the development of this principle, reached the point where a hero can use connections from living reality and turn into an abstraction, an abstract symbol. The reality of such insecurity can be seen in the failure of the depicted military leaders in V. Grossman’s story. Eryomin, Samarin, Cherednichenko, Bagaryev tried to simmer one another. It was necessary to create such characters that, while preserving their ultimate significance, did not lose their specific characteristics. M. Sholokhov (“The People Fought for the Fatherland”), L. Leonov (“The Taking of Velikoshumska”), and A. Fadeev (“Young Guard”) successfully discussed this history of the war.
The prehistory of M. Sholokhov’s novel “The Stinkers Fought for the Fatherland” is connected with the drawings “On the Don”, “War Pollution”, “The Science of Hate”. M. Sholokhov was one of the first to recognize and highlight in his drawings the folk character of the war and in the sections “The People Fought for the Fatherland” with high artistic versatility, showing the truth, and not the prediction of a merciless war.
In the sections published during the war, only two battles were described, in which the remainder of the defeated regiment suffered. In these battles, the death of two at the front wiped out a good half of the artist’s depictions of the heroes. Captain Sumskov, cook Lisichenko, Kochetigov died, and Ivan Zvyagintsev was killed.
Prote how drama characterizes this series. No one before Sholokhov's military history had penetrated so deeply into the soul of a Radyansky soldier, without painting so full and vividly alive characters, as depicted in the novel “The Stinks Fought for the Fatherland.” Lopakhin, Striltsiv, Zvyagintsev and their front-line comrades live rich and rich spiritual lives. Soldiers' minds are wise, tsikavy, and, it seems, there is no greedy, important nourishment that the soldier's mind does not interfere with. You can judge about the camp at the front, about the nature of the war, about the causes of failures, about camaraderie, think about relatives, friends, dead soldiers, admire the beauty of nature, hate the fascists, think about the share of the Fatherland. Under the pen of Sholokhov, the rich sea of folk life comes to life and thrives. Ale tsya bagatolika narodnaya masa is not without barvna. This occasional person carries with him the idea of unique individuality and, at the same time, a piece of his own, folk character.
The realistic principle of depiction, the basis of the novel “The Stinkers Fought for the Batkivshchyna”, with the greatest completeness, is the decline in the beauty of the battle prose of Russian literature, the tradition of “War for the World”. At the same time, the war is developing and deteriorating those new things that writers have introduced in the depiction of the war, singing about the enormous war (“Walking in Torment”, “Standing with Udege”, “Quiet Don”). Vin appeared even more promising. At whom all the wars are fought directly JI. Leonov, A. Fadiev.
L. Leonov breaks down the framework of the story, resurrects in the memory of General Litovchenko the miraculous image of the teacher Kulkov, with Sobolkov’s testimony he creates a wonderful legend about the Kazkov Altai, paints the unseen little villagers of the great noisy outskirts, where they lived and live in peace. There are more single-faced ones. soldier Litovchenko, driver of the legendary T-34 number 203. To earn money in order to expose the very threads of patriotism to the tank crew that we love, to create a clearly visible blood connection of the general and the soldiers with the Fatherland, to show that no matter what draw strength from their tankiness from an unequal duel. Leonov’s story “The Capture of Velikoshumska” has a deep philosophical character.
“The Young Guard” by A. Fadiev became a song of great significance. The feat of the Krasnodon residents captured the patriotic spirit of youth, the romance of struggle, the battles that are characteristic and natural for Komsomol members of the military forces, and carefully transferred them to their canvas, without adding anything to the beauty of life: the feat of the Young Guards will not require more.
“Young Guard” is the first great completed novel about the Great Patriotic War, not only a truthful monument to the brutal feat of the Krasnodon Komsomol members, but a well-known artistic work about the people’s war, which revealed unprecedented strength of spirit in the Radyan people. The romantic presentation of the characters and the whole style of presentation illuminated the truth of the depiction. Fadiyev’s minds are put together and poetically revealed a whole complex of moral problems that determined the nature and result of the war (the flows of masculinity, spontaneous and knowledge in the struggle, the strong force and initiative of the masses themselves, the problem of fathers and children, positive hero etc.). “The Young Guard”, being a product of lofty tragic fervor, is close to an epic song behind its genre features. This tragedy, the epic and the romantic pathos have the originality of a novel imbued with the spirit of lofty colossality.
One of the finest works of socialist realism, “The Young Guard”, like such books as “Ovid” and “How the Steel Was Made”, flew around all corners of the world, was translated into many languages and became one of the favorite works of the century. I, especially when I’m young.
The principles of poeticization of the heroic, which are expounded by M. Sholokhov, L. Leonov, A. Fadeev, found further development in the war novel about the Great Vietnamese War.
The fate of the war was created and such things were done, in which the pride of the head was not so much for the people's heroic place, as for the lot of the people in the war. Human happiness is the war - this is how one could formulate the main aesthetic principle of such works as “Just a farm” by V. Vasilevskaya, “It was in Leningrad” by A. Chakovsky, “The Third Chamber” by B. Leonidov and others. All these creations have become a great application on the topic below their solutions. Now it’s time to tackle the novel after the war.
In response to the secret idea that was formed back in the days of the war and, perhaps, rightly, our artists were less interested in the poeticization of the race than in the depiction of military exploits. Until then, writers had been around for a long time, even before the war. The first to show the heroic labors that were fought in Tila was A. Perventsev (“Experimentation”). Following him, F. Gladkov (“The Oath”), A. Karavaeva (“Vogni”) and others write about labor friendship between the front and the front, the workers and the villagers. Oath".
On the day of the war, as never before, there was a story about the ties of our people to their heroic past. Patriotic traditions were the most advanced and most subdivided in the genre of the historical novel. The historical novel, which in the 1930s took almost the place in our literature, gained great popularity in the 1930s. “Port Arthur” by A. Stepanov, “Dmitro Donsky” by S. Borodin, “Bagration” by S. Golubov are published, the continuation of “Peter the First” by A. Tolstoy, “Emelyan Pugachov” by V. Shishkov is published, dozens of wide canvases dedicated to the Tatars are published in our time, the hour of Oleksandr Nevsky, Ivan the Terrible, Peter 1, around 1812, etc. The era of Ivan the Terrible, in recent times, was reflected in the novels of V. Kostilov, V. Safonov, in the dramaturgy of A. Tolstoy, I. Selvinsky, V. Solovyov.
The theme of historical novels during the war is determined by the patriotic ideals of the nobility. Artists strive for realistic creation until the spirit of the era and the character of the people are revealed. At the same time, in the historical prose of these rocks, there is a tendency to embellish the image of kings. This was especially indicated on works that depicted Ivan the Terrible. The “publicity” of the tsar, the abundance of his special services to history can be found in the novels of U. Kostilov, in the historical dramas of the times of fate, most notably in A. Tolstoy’s dilogy “Ivan the Terrible”.
It is a great place in the novels to take the image of a military leader, perhaps unknown in the literature of the 30s. Thus, the images of Alexander Nevsky, Dmitr Donsky, Kutuzov, Bagration, Nakhimov, Makarov and other geniuses of the Russian military mystique are created. The most distant one in this plan is A. Stepanov’s novel “Port Arthur”.
The writers who depict the revolutionary past of our people have achieved significant mystical results. The most significant of these works - the novel “Omelyan Pugachov” by Vyacheslav Shishkov - shows rebellious Rus' in a wide shot. The writer, having looked into the very soul of the Russian people, restless, love-loving, most soulful, solves the problem of self-righteousness, creating a bright, historically truthful character of the people’s band. V. Shishkov’s novel became one of the most prominent works of Radian literature.
The historical prose of military fates is the moon of the heroic past of our people. Together with the Russian story and other prose genres dedicated to the periods of 1941 - 1945, it created a monumental epic image of the people of victory and clearly corresponded to the moods and aspirations of the Russian people days of the great battle.
Literature at the Rocks of the Great White War
Prose of military fates Poetry of military fates Soldier's fortitude Paragraphs and anecdotes
View from Moscow to Brest
There is no such place,
Don't let us get lost in the pills,
With a "watering can" and with a notepad,
And then with a machine gun
The fire and the cold have passed.
K. Simonov
At the most important stage of the Great Hungarian War, the active members of the Radian culture - writers and singers, artists and composers, film and radio practitioners - contributed all their talent to the war. More than a thousand members of the Writers' Group created their works directly at the front and in the partisan camps. About half of them fell in the battles for the freedom of Batkivshchina and were wounded.
The program to fight the Radian people and powers was planned by Stalin’s promo on the radio on June 3, 1941. Stalin called on the people of the Radyansky Union to rise up in a free war against the fascist non-voluvolists, to reorganize all work in the military way, to help the Red Army in every possible way, and for those affected by the invasion, viz or knowledge feel everything valuable, food, food; create partisan corrals in the areas occupied by the enemy. The leading light of the Radyan people were the words of Stalin: “Everything for the front, everything for victory.”
The Radyansky friends and radio kindled broad patriotic propaganda, turned to the historical traditions of Russia and the Russian army; they created, for an hour without even grasping the truthfulness of the details, the images of new heroes: Mikoli Gastello, who brought down his destroyed aircraft on a column of hostile tanks; young partisans Zoya Kosmodemyanskaya and Sashka Chekalina, hanged by the occupiers; fighters of the division of General I.V. Panfilov, at the cost of his life, German tanks were not allowed to reach Moscow; Oleksandra Matrosova, who covered the embrasure of the guard’s dugout with her body. The most popular Radian writers and singers constantly appeared in the media: K.M. Simonov, O.M. Tolstoy, M.I. Sholokhov, A. T. Tvardovsky, A.A. Fadiev, B.L. Gorbatov and many others. The song “Holy War” (words by V.I. Lebedev-Kumach, music by A.V. Alexandrov) roared throughout the country and became a symbol of the hour. The works of A.A. Surkov “Dugout” and “Wait for me” by K.M. became extremely popular. Simonova; poem "Vasil Tjorkin" by A.T. Tvardovsky.
The main purpose of Radian literature during the war was to depict the life of the warring people, to convey the greatness of their feat, to evoke a deep patriotic feeling, to instill even greater hatred for the enemy. All this meant the importance in the Radian literature of the important fates of the war of such specific genres, which quickly contributed to the everyday life of the front, such as newspaper stories, statistics, and journalistic appearances in newspapers and on the radio. Radian literature during the war was rich in problems and genres. Verses, drawings, poems, songs, eats, novels were also created by our writers at the time of the war.
Journalism by A. Tolstoy, M. Sholokhov, M. Tikhonov, V. Vishnevsky, K. Simonova, I. Yerenburg has become another type of beast that infects the enemy. At the same time, stories, novels, and poetic works were being written, with the main characters and themes being the people whose resilience and heroism in the fight against the enemy. "The Immortal People" by V. Grossman, "The Walls of Leningrad" by V. Vishnevsky, "Pulkovo Meridian" by V. Inber, "Volokolamsk Highway" by A. Beck, "Days and Nights" by K. Simonov, "Urals in Defense" by M. Shaginyan , “In the trenches of Stalingrad” by U. Nekrasov – these other literary works, created by the fate of the war, lauded the front, the partisan movement. How the front-line soldiers embraced their fellow soldiers in O. Tvardovsky’s poem “Vasil Tjorkin” and M. Sholokhov’s novel “The Stinks Fought for the Fatherland.”
Works about the heroic revolutionary and battle experiences of the Russian people occupied an important place in the literature of military history. The traditions of the struggle of the peoples of Russia against foreign invaders multiplied the fighting spirit of the Red Army to fight, the working people of the Radian army.
From the first days of the war, the Radyan writers and singers from all the people began to fight the fascists. Their armor includes a rifle, a skewer, and a word: verses, notifications, songs, rows of military correspondence. On the first day of the war, A. Surkov became furious with the verse “We swear to overcome.” K. Simonov wrote about the terrible fate of the war that they will first stamp from the same steel, as tomorrow they will go to stamping. And when the brown plague broke into the home early, the scribes donned army tunics and became army correspondents. On the pages of Pravda, a series of military reports and front-line correspondence began to appear such works as “Courage” by A. Akhmatova and many others.
“As our brotherly military correspondent has never had to get wet, shudder and stumble on the roads, all the scum on those who more often have to pull a car on themselves, or drive it, is simply funny in front of that, to work at once with an ordinary private infantryman , one of the millions that travel along these roads, sometimes crossing forty kilometers to get there...”, wrote K. Simonov.
Literature about the war began on 22 Chernya, 1941. from the publication of known writers to the people, from journalistic articles, from literature. Those that were popular in the element of war were varied in genre - these were baladas, lyrical verses, songs, colorful emotional paintings. M. Sholokhov “The Science of Hatred”, “The Stinks Fought for the Batkivshchyna”. K. Simonov, verses: “You remember, Alyosha, the roads of the Smolensk region,” “Sinya Khustochka,” “Wait for me and I will turn around.” Vershy by A. Surkov, M. Isakovsky, poem by A. Tvardovsky “Vasil Tjorkin”, verse by O. Bergolts, drawing by I. Yerenburg, E. Kazakevich’s story “Zirka” is far from a recent repercussion of the names of works written during the hour of war.
Ear of war, the invasion of the Radyan army with great expenses, the atrocities of the fascists, the destruction of the Russian people... and the hope of victory that arose in the very depths of the people's knowledge, which grew into the middle of the war into the hope of victory. How can we explain the sharp turnaround in the war? The food is far from empty, and, as they say, the writers in their works traced the lives and feats of the peasant people, who ensured victory in the war against the Nazis. The greatest thing in the literature of military rocks was created, as the fakhists insisted from the military prose, in the first 1.5-2 rocks, when everyone realized that the fatherland was in great danger, and the defeats at the front were perceived as tragedies This is a very special tragedy.
In the first month of the war, our troops came under the pressure of Hitler's hordes, and women, old people, and children became helpless before the cruel enemy. "I can clearly see everything that the Hitlerites have amassed in just one decade. The mountains of lightly snow-covered corpses of women and children, anti-tank ditches filled with Rostovites, looted huts, small neighborhoods, bedrooms in From the cob to the end,” wrote V. Zakrutkin books "About myself". The basis of this story “Mother of Man” is a real fact. “Early in the spring of 1943,” the author writes, “we left the road clogged with civilians and drove along the steppe, increasingly moving away from the main line. Later we drove into the black ruins of some burned Hitler "The people of the farm. There was nothing living on the farm..." We were already approaching the exit from the ruins, as if a naked boy of the rocks of four jumped out of some dark hole, and after him a woman covered with a blazer climbed out... We lifted the woman who was crying, and there, having arrived before you, roses told us everything that She had the chance to survive in the middle of the ruins of a local farm, she was lucky enough to live in kukurudzi.
Through all the poetry of war stories there runs the theme of scorched youth, the theme of the young men of the 41st fate, right from the school battle that went to the front. About them, about the young men and girls in soldiers' greatcoats, the verses of Bulat Okudzhavi speak with penetrating humanity ("Goodbye, lads"). The poetry of the military generation reveals such a tension of high human feelings, such a patriotic spirit that it becomes understandable why people stood to die for Moscow, as then Stalingrad, on Kursk Arc, on the skin of the Russian land. And, perhaps, the most pervasive in this sense is the famous verse of A. Tvardovsky “I’m beaten under Rzhev", The word of the lost, brutalized to the living.
Over the course of military trials, 1,215 writers—maybe half of the current creative organization—went to fight the enemy. Over 400 of them gave their lives for the liberation of our Fatherland from fascist slavery. Many singers did not return from the fields of the Great German War, and all the warriors of the wartime self-determinedly shared with their people. These people were even more distinguished by their talent, age, and their front-line shares. Some of them have already started to go into literature and books, some of them have begun to make friends, but they have one thing in common - love before the Fatherland. The Siberians Evgen Bereznetsky, Boris Bogatkov, Kostyantin Bryansky, Georgy Doronin, Georgy Suvorov, Volodymyr Chugunov sang of the death of the famous ones. They went to the front young, without having seen their books. Before the war, Musa Jalil was already a well-known poet, a pottery maker of a collection of writers of Tatarstan - the fascists of the Maobit region. Musa Jalil, who survived the horrors of the fascist concentration camp, without giving in to the fear of forty deaths, was brought to Berlin. Here he was called to participate in an underground organization and was found out. Because of the suffering, I lost 115 verses written by the deceased.
Both in the prose and in the poetry of the first military rocks there was the greatest truth, purified from any ideological deception. But in the other half of the war, when there was hope for victory, a wondrous paradox emerged in literature: the truth had gone, but the ideological propaganda about the power of the Radyan army, about the communist party, which would have a leading role in the war, was lost. mock the fascists, about the role of the leader, Comrade Stalin. It was forgotten that before the start of the war, Stalin signed a non-aggression pact with the fascist Hitler. How was it possible - a fascist and a communist coming together?
War is always important to try both for the country and the skin of the people. God forbid something like this should happen. But the war brings with it a stronger awakening of information. The people during the war were not Radian, but Russian, and there was a great difference. Let us be on our guard against the totalitarian regime. The awareness of people who went through the torment of hell, both at the front and in the country, changed, but the socialist harmony with the cult of Stalin’s specialness and with the concentrated radyan camps did not change. A curtain of curtains fell on the edge. The mode of sensing the awakening of popular self-awareness and imbuing it.
In general, literature during the war period was characterized by its propaganda directness, a kind of posterity. She largely represented the official “social education” of literature, which took place in the early war of the decade. In the minds of the cult, individuals put a special mark on the rich works of these rocks. The stench of the unprimed overdid the role Stalin from victories, from the people.
For the time being, to say the necessary word, to say it in such a way as to engage the minds, will and hearts of the readers, gave literature great spiritual power to the living people, helped to withstand the war.
"Fascism And people, writes Grossman, cannot sleep. If fascism overcomes, people cease to exist, they are deprived of their inner transformation, human-like essences." Grossman not only shows the evils of fascism, he also distorts the philosophy on which the evils against humanity rest. Ideology, as everything is true, psychology, as it removes moral barriers. far from then, Grossman and Simonov did not go into the understanding of the war, their later books do not compare with what they wrote about the war, the stench is not just a simple one, but a continuation, development, perishing share,” between Simonov’s “Days and Nights” and the trilogy yu "Live" she's dead." The scribes did not know everything, not everyone understood in the chaos of grief and valor, courage and dashing, cruel punishments and boundless self-sacrifice, a small part of which stench fell upon the country. were themselves, but their struggles with the truth, as they smelled and understood, were not, as at the front, a table laid out by external furnishings, stupid government recommendations and fences.
Today's readers of works about the war cannot help but be fascinated by the fact that in the midst of the bitterness of the war, people managed to preserve in themselves what is truly human - kindness, love, sleep. The evidence of this food was given and given by the works written in the important rocks of the Great Great German War.
The story “Sousidka” by Mirri Smirnova tells about the Leningrad blockade, which lasted for less than 3 days (900 days). The fascists showed such extreme cruelty by starving people to death! But the place not only did not work out, but was repaired. Strong-willed people (physically weak) found strength needed by everyone who was worse off. It seems that the patriotism described in the book was natural and natural. Based on the life of the besieged Leningrad, the writing showed the fiery mood of the people of this land: hatred of the fascists, readiness to sacrifice their lives for the people of that land. One hero said this and said about everyone who did not spare themselves in this war: “The stinks died so that we could live.”
The unity and courage of the Russian people in the face of mortal danger, mass heroism and the tragic tension of military fates are highlighted by K. Simonov’s trilogy “Live and Dead” (“Live and Dead”, “Soldiers Are Not Popular”, “Remaining”) that's it"). Everything was in the war: the recklessness, no one’s death was justified, the thoughtless orders of the commanders, the self-devotion of the fighters, and the heroism of the rich. And even for the most important people in greatcoats, the country has overcome fascism. We must know everything about them in order to appreciate the peaceful life won at the cost of blood by our grandfathers and great-grandfathers. Whenever we read artistic works about the war, we will see different pictures, different stories from these distant rocks.
The concept of humanity, as it is confirmed by literature, is revealed with the greatest versatility in works about the Great White War. The military situation, with its particular drama, with its “borderline” restriction of moral choice, where people reveal themselves “to the bottom” in good and evil, courage and fear, spiritual anger and moral failure, allow writers to cover up your hero's ideas, reveal the ideological ethical basis of his specialness. The image of the little people is to be the writers of the Xіba Shi at the two aspects of the TISNOMILITAL: Hero at the Hero Hero Hero Hero at Borotbi Tsіnovosti at the Riznich situyes - front -line, Gospitalniy, Tilovich. Another aspect captured by the writers is the intense moral and humanistic problems of their works. Radyansky writers confirm that the value of people in war is not less than the victory of military commands. And one more approach - this “moral attitude”, which creates the basis for character, leadership incentives.
In one of his speeches, O. Tvardovsky, having respected that action, namely heroic action, will require confirmation and consolidation by mystique, without which “it is not entirely possible and impossible forcefully infuse people with knowledge. The same can be said about literature, I have exclaimed until the end of life the effortless feat of the Radian peoples in the Great Patriotic War of 1941-1945. Our information, including the information of the most middle-aged people, has confirmation of this feat, for the dogs of the truthful word.
Literature and mysticism invariably act as preserving memories of generations. This manifests itself with special force in the works that have taken part in the heroic stories of the life of the nation. None of the connections between mysticism and the people’s lives, the power of infusing the written word onto the surface of great historical significance, were revealed so obviously and hostilely as at the rocks of the war. The scribes asserted their right to speak “in the name of Batkivshchyna.” The creations created during the rocks of the war undermine the power of the document - the direct testimony of the middle participant in it. The war touched the skin family with its cruel hand. Today we are destroying the words of the people and we are destroying the memory of those who owe the happiness of living on Earth, those who lived our lives on the fields of war. “There is great historical justice in the fact that the land remembers the feat of its brothers again and again.
Topic of the lesson: Theme of the Great German War in the literature of the 20th century 1941-1945 and the remaining decades
Number of years: 2 years
Lesson type: traditional
Lesson overview: lesson-lecture with popular information technologies
Interdisciplinary connections: history, music, art
Advanced homework: the 40s and 50s of the 20th century - commemoration of the Great
Overcome 1945 rock
Goals and dedication to the lesson
1. Lighting:
become aware of the peculiarities of the development of literature during the period
BBB; it is necessary that the process of vaccination
those scholars realized how rich and varied the literature is
military rocks, how high their enormous and artistic merits are.
2. Developing:
develop skills in viral reading (correctly
intonation and arrangement of a logical voice); keep your job alive
from molding and in-depth knowledge and processing
information you need from different sources and follow it
public, as well as the ability to thoughtfully listen to the speakers
reveal what to talk about.
3. Vikhovny:
to stimulate interest in literature about the Great White War;
instill pride in your people, great position, humanism;
reveal the teachings of the patriotic feelings of people today
war, their readiness to earn everything that is possible to protect the war;
Viperezhalne homework (work in groups):
1 group – analytical - together with the teacher prepare the introduction (motivation) part of the lesson and introduce the material of the presenting groups;
Group 2: Material from journalism during the WWII and early war periods
(I.G. Erenburg, O. Berggolts, M. Sholokhov, A.N. Tolstoy, V. Grossman, B. Gorbatov)
3 group explores the main motives of the lyrics of military rocks, as well as biographical information about poets, analysis of heroes (V.I. Lebedev-Kumach,
A. Surkov, O. Berggolts, A. Akhmatova, K. Simonov, N Mayorov, those who “...went, not loving, not smoking the remaining cigarettes”: Pavlo Kogan, Mikhailo Kulchitsky, Musa Jalil;
4 group – The story “Prose about the war of 1941-1945” is being prepared (K. Simonov, Emmanuel Kazakevich, A. A. Bek, B. Polovy, A. Fadeev, V. Nekrasov, M. Sholokhov).
(Two dates, epigraph are written on the screen in close-up font)
Two sides of the calendar.
Two days in the life of planet Earth.
Two days of human history.
Student: There was a great war,
The war was crooked
One thousand four hundred and seventeen days.
Learn: There is a thread between these dates. Without one there would be no other. More precisely, the other one simply might not exist.
Student: 1418 days and nights of battle. 1418 days and nights in the Radian people's free war. Long and important way to Peremoga!
Learn: This war behind Hitler’s plans is not a “blitzkrieg” - a Blitzkrieg war. The fascist armies, which had both painfully and terribly passed through Europe, were subjected to mild and fluid changes at the gathering. This was not just a war on the battlefield. Hundreds of thousands of young men and girls were stolen from our land, children from as far away as Germany. And mittens made from human skin are still preserved in the museums of Nimechchina. In children's concentration camps, terrible investigations were carried out on children, new drugs were tested, bleeding children in order to transfuse blood to the fascists. There is no dear homeland in our region that would not have lost its loved ones to this war, who perished in battles with the Nazis or died of hunger and cold. This is why the giant of our land knows: “Be holy and right, mortals do not fight for glory, for happiness on earth.” Well, the 22nd of worms will forever restore our memory to 1941, and the 9th of worms to 1945.
Teacher: To which fate all progressive humanity signifies the 60th anniversary of the Day of Victory over Fascism. We remember the battles lost in battles, the veterans of the war and the war that was overcome, and we are increasingly learning about the WWII , about our Peremoga.
Why do you care, boys, why do you need to think about the war? Or, as foreign writers faded, turning to the writers of Russia and Belarus, so
“...as long as it is possible to reconstruct those that happened so long ago. This is against the laws of memory, which make it hard to forget, calm down, lie down. Viina is a majestic, yet extinct volcano of the 20th century. The world has so little kindness, an obvious deficit of mercy. Why doesn’t Russian literature preserve the memory of war and aggressive war for so long? Vaughn does not allow people to live in peace, in peace, once again descending into the crater of an extinct volcano.”
Learn: Eating is not so simple anymore. Among the rich people who lived at the rocks of the war, the Radian Army in the lands of Converging Europe, the Baltic States, monuments, obelisks, and graves of our fallen soldiers are desecrated and desecrated, the fascists’ collaborators are magnified, they write such “chronicles” of the war, in which there is no place for the exploits and victims of Russia. And the way I feel, in my opinion, is absolutely true, Yevgen Vinokurov sings at his altar: “And I remember the light of war, the eternal light, the living light of Serozhka from Malaya Bronnaya and Vitka from Moss ovoi"
Having said all this, you have already guessed the topic we will learn in class.
What goals will you set for yourself when considering this topic?
Learn to formulate the topic and purpose of the lesson.
Teacher: We begin to study the “Great German War in the literature of the 20th century 1941-1945 and the remaining decades”
Today in class we will learn about the “Specific development of literature during the period of the Great German War of 1941-1945.” Golovne, so that in the process of studying those you understand how rich and varied the literature of the military rocks is, how high its enormous and artistic merits are.
Teacher: First of all, let’s go to the vocabulary and take a look at what are the main concepts on the topic of the lesson:
(On screen):
Viyskova prose (lieutenant'ska, okopna)
Documentary prose
March song
Chronicle of military events
Newsreel
Photo chronicle
Frontline report
Radio station
Weiskovy correspondent
Veyskova journalism
Military journalism is a genre in which information about events is directly related to evaluation and emotion, often with the literature of historical, socio-political functions. y, with direct input into history.
Literature about the VBB was published without a pause, without a preparatory stage, without any distance from time to time - from journalistic speeches of writers, their drawings, reports from battles. What is the peculiarity of the journalistic word of the writer?
Work in groups.
(students must prepare prior to the announcement of the plan:
a) short biographical information about publicist writers;
b) news about the creativity, innovation, activity of the VVV rock, the contribution of Peremogu.
Group 2:
1. Such a person was the creator of many books, articles, drawings under the covert title “War”. Illya Grigorovich Yerenburg (1891-1967)…
2. Oleksiy Mikolayovich Tolstoy, The author of the epics “Walk of Torment” and “Peter 1”, as a publicist, focused on another moral aspect ...
3. The genre of journalism was actively practiced by the rocky VBB
M. Sholokhov “People of the Red Army” 1941, “Science of Hate” 1942
K. Simonov “Cherven-breast”, 1941, “Days and Nights” 1942, “Song” 1943
N. Tikhonov “Odessa in battle, 1941)
A. Fadeev “Union of Slovenian peoples in the fight against Hitlerism” 1941, “Children” 1941, B. Polovy “At the partisan land”
B. Gorbatov "Tabir on Majdanek" 1944, "Surrender"
O. Tvardovsky “The wound is holy” 1945 to fate.
The great role of raising the patriotic spirit of the people is played by the journalistic articles of L. Leonov, K. Fedina, A. Platonov, E. Vorobyov, Nd. Vishnevsky, A. Surkov and many other writers
4. Particularly spontaneous contributions to the journalism of these rocks V. Grossman(1904-1964). He was a correspondent for the newspaper “Chervona Zirka” at the VVV.
5. O.F. Bergholtz(1910-1975). Vona developed a very special genre of publicist, or rather radio publicist, and instilled it in the principles of her entire life in besieged Leningrad...
Teacher: What was the journalism of military fates? Flatten the material.
Visnovok: The current state of journalistic statistics of military history has developed in haste, with such a strain on the writers’ powers that there has been no mention of the development of any canons, aesthetic norms, or fidelity to the genre of memory. The fatal insecurity for the Fatherland transformed the very idea of the revolution, the idea of the border mobilization of all the forces of the people who are fighting, into the material of statistics, which meant its structure, resounding in the voice of the writer. “Ours on the right is correct. The enemy will be broken. Victory will be ours” - these formulas and ideas were voiced already on the 22nd of 1941 at the speech of V.M. Molotov, and then 3 years ago at the speech of I.V. Stalin had to be quickly and quickly extinguished, hardened, converted into a “science of hatred.” The word is a commander, and it is not a resonator of his weakness. The requirement was to “broadcast as a call on every day for the days of local cleanliness and people’s misfortunes.” And they were afraid - the publicists of military rocks - they wrote the “history of the present”, and with their pen a great number of articles were created, about the exploits of partisans, about the heroism of workers, and drawings that paint the possible course of our lives to what the people of Europe are liberating from fascist slavery .
The help journalists provide to their warring people is of a small, varied nature. First of all, the constant enemy of propaganda and agitation and the revelation of the true individual of fascism before their people and the world's hymnal thought. Publicists, through the heads of the departments, rushed wildly to the thoughts of the allied countries, shouted until they were drunk, until they were active. But, perhaps, the problem in the journalism of these fates lay in the fact that it represented the despair and awareness of the people to fight. The stinks caught him, they thought, they wanted him for help, they had great authority, judgment and hope for the world in the form of involuntary.
3 group
The main motives of the lyrics of military rocks.
(Sound “Holy War”, then “Song of the Bold”. Show photographs of the poets.)
1. Sing supernaturally the Swedes reacted to the beginning of the war: already on the 24th of 1941, the news appeared in the central newspapers V.I. Lebedeva-Kumacha, set to music by A. Oleksandrov, and 25 chervenya “Song of the Smileys”, O. Surkova. Offensive poetic texts were viewed by the so-called march songs, that she had the will, energy, and determination to defeat the “fascist dark force.” The entire form of perfected phrase, rhythm, invariably carbonated, structured, repetitions of the key word, commanding intonation - this is a song filled with “noble joy”, the spirit of fidelity, the spirit of patriotism.
2. The lyrics of military rocks lived the theme is dedicated to the people, she “crossed” the lines heart relationships between people. And this role, which is united, was played not only by vertices, but by virsha-prokhannaya “Wait for me” by K. Simonov(1941), and the top is an oath in the name of the people “Manliness” by A.A. Akhmatova(1942).
Teacher: I will teach you to listen to the reading of these verses from the author’s wiki.
3 . The songs and verses that became songs played a great role in rocks :
"Oh, my fogs, enraged...",
“Before the day, mista ta hati”,
"Vognik"
“De vi, de vi, brown eyes...”,
“At the front-line fox...” by M.V. Isakovsky,
“Roads” by L. Oshanin,
“Song about the Dnieper”, “My Kohana...”.
Vikonanny song "Officer's Waltz" by E. Dolmatovsky.
4. The hero of the song was the strongest during the war, but during the war he was deprived of an inspired people.
So in A. Surkov’s song. what was the root of the vertex “Being in a crowded place pechurtsi vogon...", The omnipotence of war, the kingdom of cruelty, as if to be blocked, is reduced to such bestialities to kohanoi:
The song “Fight in crowded conditions” will sound pechurtsi vogon..."...
5. One can say from time to time that the capacity of the human heart is not boundless, that “death, to such a small extent” is the strongest of all the prayers of Kohanoi, as at once “far, far away,” as A. Surkov said: the hero will not tear up the circle of deaths by giving up flow from the kingdom of death. Vin, like Isakovsky’s hero, is stronger than other decisions: the road to it goes through war.
6. Analysis of the verse "Nightingales" What is considered a masterpiece of a song epic. Oleksia Fatyanova.
(Sound song).
7. A reminder about “Moabitsky Zoshit” by Musya Jalil.
Reading – “Barbarism”
On the screen are photographs of concentration camps...
8. Congratulations: “Vasil Tjorkin” - a book about the fighter O. Tvardovsky”
Showing illustrative material behind the creation.
Sound "Requiem" by Mozart
Teacher: A lot of poets perished in the war, “...they went away, not loving, not smoking the last cigarettes,” without realizing the words of the head (scholars call nicknames and read the words of Vershev:
(On screen)
Musa Jalil,
Mikhailo Kulchytsky,
N. Otrada,
Pavlo Kogan,
Mikola Mayorov,
Vsevolod Loboda
and many others.
Let's take a look, what are the main motives of the lyrics of military rocks?
Visnovok: The singers of these fates have informed and taken over the head of the reader: it’s not too late to say about our hour, to know for the top place in the lavas of the people what to fight. Therefore, no one benefited from the fact that the commandment “Thou shalt not kill” was pushed onto another plane and sounded like the opening call of such vertices as: “Kill him!” K. Simonova, “You are the enemy! And let there be no punishment or revenge” A. The poetry of military rocks sounded the motives of pride in their Fatherland, the spirit of payment, Believe in Victory, the goodness and resilience of the human spirit, the motives of happiness, destruction, hatred...
Teacher: And the axis of literature from the top to the flow of prose, to the analytical investigation of the characters and the rich-planned image of the war will be quite complex. I was aware of the consistency in the first plan of genres :
Lyrical miniature
Song
Stattya
Naris
Drama
Povist
Novel - inspiration from the creativity of writers who inspired all these genres: K. Simonov, L. Leonov, A. Platonov.
So how did the prose of military fates develop?
4 group.
1. In 1943, A.A. Bek’s semi-documentary story “Volokolamsk Highway” appeared about the battles near Moscow of General Panfilov’s division: 28 fighters accomplished their feats in the division of his division. in which fascist tanks were responding to Dubosekov’s departure.
2. K. Simonov is one of the most efficient writers who bravely intervened in the difficult situation of the war - after a series of works, drawings, reports from the front, creating the song “Russian People” (1943), and through the river - First I write a story about the Battle of Stalingrad “Days of nights" ...
(on screen)
3. Great prose works emerged at the dawn of the war and immediately after it.
E. Kozachevich, who wrote a story about the feat of a group of spies “Zirka” (1947)
Vira Panova, who knew about the doctors and nurses of the ambulance train in the story “Companions” (1946), became the basis for the film “The Pull of Mercy”
“As the Sun Sets” (1945)
Leonid Sobolev, who spoke about the exploits of sailors in the book “Sea Soul” (1942)
Boris Polovy, having kindled the share of the pilot Oleksiy Meresyev, the real story in “the story about a true man” (1947).
The true masterpieces of wartime prose were the novels “The Young Guard” (first edition 1945) by A. A. Fadeev, “In the Trenches of Stalingrad” by V. Nekrasov (1947) and the unfinished novel by M. Sholokhov
4. A short information about the works of M. Sholokhov “The people fought for the Batkivshchyna and “The Share of the People.”
Teacher: What kind of insight can you learn about the topic of the lesson?
Sound "Requiem" by Mozart
Abstract: The theme of the BBB never ceases to praise the reader - the history of the region - be it journalism, poetry or prose. It is necessary to remember the national feat of 1941-1945, to save the eternal fire “not for the sake of glory, for the sake of life on earth.”
According to the encyclopedia “The Great Vietnamese War”, more than a thousand scribes served in the active army, with eight hundred members of the Moscow scribe organization, two hundred and fifty went to the front during the first days of the war. Four hundred and seventy-one writers did not return from the war - at great expense. If, in the hour of the Spanish War, Hemingway noted: “It is very dangerous to write the truth about the war, and it is very dangerous to search for the truth... If people go to the front to search for the truth, they may instead find death. It’s like twelve people are driving, but only two are turning around - however, if you bring the stink with you, it will be true, and not created by feelings, as we see in history. Chi varto rizikuvat, to know this truth - let the writers themselves judge about it.”
Newspapers played a special role in Western literature.
The correspondents of “Chervona Zirka” were I. Erenburg, K. Simonov, V. Grossman, A. Platonov, E. Gabrilovich, P. Pavlenko, A. Surkov, and the final authors were O. Tolstoy, E. Petrov, O. Dovzhenko, M. Tikhonov. A. Fadeev, L. Sobolev, V. Kozhevnikov, B. Polovy performed at Pravda. In the army newspapers, a special position was founded - a writer. B. Gorbatov served at the newspaper of the Pivdenny Front “For the Glory of the Batkivshchyna”, at the newspaper of Zakhidny, and the former 3rd Belarusian Front “Chervonoarmiiska Shchopravda” - A. Tvardovsky... The newspaper at that time became the main intermediary between the writer, the reader and the writer we are practical organizer of the literary process. The union of newspapers with literary writers will require newspapers in the written pen (obviously, within the framework of journalistic genres), but also as they have become less important and more important, and have transformed into an alliance with artistic literature (they have become present im on newspaper sleepers near the “clean” » »Vidi). In Sichna, born 1942. "Chervona Zirka" was inspired by the first impressions of K. Simonov, K. Paustovsky, V. Grossman. After this, the creation of artistic literature - stories and stories, stories and stories - began to appear in other central newspapers, front-line and army newspapers. The previously inconceivable phrase was heard - it was respected as an axiom that a newspaper lives for one day - on a newspaper smoothie the phrase: “Continued in the next issue.” The newspapers published stories: “Russian Tale” by P. Pavlenko (“Chervona Zirka”, 1942), “The Immortal People” by V. Grossman (“Chervona Zirka”, 1942), “Raiduga” by V. Vasilevskaya (“Izvestia”, 1942 )), “The Family of Taras” (“Neskorenі”) by B. Gorbatov (“Pravda”, 1943); the first chapters of the novel “Young Guard” by A. Fadeev (Komsomolskaya Pravda, 1945), the novel was completed after the war; sing: "Pulkovo Meridian" by V. Inber ("Literature and Life", "Pravda", 1942), "Lute Schodennik" by O. Berggolts ("Komsomolskaya Pravda", 1942), "Vasil Tjorkin" by A. Tvardovsky ("Pravda" , "Izvestia", "Chervona Zirka", 1942); songs: "Russian People" by K. Simonov ("Pravda", 1942), "Front" by A. Korniychuk ("Pravda", 1942).
For the infantry soldier, artilleryman, sapper, the war was not only unhealed troubles - bombardments, artillery pours, machine guns - and death, before which so often happened all the time, but it was hard I do everything I do every day. And as a writer, she also drew her own literary work - without alterations and without alterations. “I wrote,” said O. Tvardovsky, “draws, verses, feuilletons, hassles, leaflets, songs, statti, notes - everything.” Apart from traditional newspaper genres, intended for illuminating the present day, its evil, correspondence and journalistic articles (and the stench, naturally, has grown to the greatest extent, before them nor were they brutalized most often), if an artist who had gone into talent before them, was recreated: correspondence was recreated in an artistic drawing, a journalistic article in the EU, the advantage of artistic literature, including durability, emerged. Much of what was then meticulously written for tomorrow’s issue of the newspaper has preserved its living force to this day, as much as it has been invested in this creative talent and soul. And in journalistic genres the individuality of their writers was clearly revealed.
The first row of the most prominent writers in the newspaper of the war rightfully belongs to Illya Yerenburg, who, according to the name of the corps of front-line correspondents K. Simonov, “dealt with the hardships of the war” more, more self-giving and better for all of us.”
Yerenburg is an important publicist, the main genre of his genre - statistics, vernishe, ese. In Yerenburg it is rarely possible to write a clear description in a clear view. The landscape and the paintings immediately become larger, creating a symbolic sense. Yerenburg’s government’s hostility and caution (and he is a thoroughly civilized man, having gone to the front more than once) enters into the figurative fabric of his journalism on an equal footing with sheets, documents, quotes from newspapers, eyewitness accounts, evidence of their experiences, etc.
Laconism is one of the most striking features of Yerenburg’s style that catches your eye. A great number of very interesting facts, like a vikory writer, will require compression. Often the very “montage” of facts leaves a thought, bringing the reader to the conclusion: “If Leonardo da Vinci sat above the seats of a flying machine, thinking not about high-explosive bombs, but about the happiness of mankind. Lastly, I sewed the first loops of the French patisserie Pégu. The elders said: “Be proud - people fly like birds!” Through many fates I have flown "Junkers" over Madrid, over Paris, over Moscow..." ("The Heart of the People").
Contrasting composition, a sharp transition from private, but hostile, visible details to the hidden, from pitiless irony to heartfelt tenderness, from rotten invective to the call that comes - axis What does Yerenburg’s style look like? Dear reader of Yerenburg journalism, it is impossible to guess what she is singing.
Kostyantin Simonov also sings (notably, this is how his readers received him, and he himself also valued poetry in his true calls), but in another way - he always struggles to the top of the plot, in one of his reviews its pre-war heights were penetratingly noted: “At Kostyantina Simonova gostrota zora ta zvichka prozaik.” After all, the war, only the newspaper workers pushed him to prose. In his drawings, he depicts those who, having learned from his own eyes, share what he himself has experienced, and tells the story of a certain people, from whom the war began.
Simonov’s drawings always have an unveiling plot, so the stench behind the figurative structure is little noticeable in response to its unveiling. There is, say, a present psychological portrait of the hero - a high-ranking soldier or officer of the front line, based on the living conditions, shaped the character of this person, according to the images of that one, in whom, in his head, the author gives his utmost respect to the everyday life of her neither. I’ll draw the ending axis “On the Sozh River”: “The battle began on what is far from the first water line. This is an ordinary, important day, after which a new battle began, so important” - it characterizes the author’s day of dawn. І Simonov, in great detail, reveals what soldiers and officers had to experience during these “crossing” days, whether in the cold, making their way to the brushes, or in the off-road creeks along endless front roads, near avoiding skidding cars or navigating the impassable ford of Harmati; like smoking the last sliver of shag mixed with crackers, or chewing a cracker that was suddenly saved - which day there is no grub, no smoke; like running under a mortar shelling - overshooting, undershooting, - feeling with your whole body that it will immediately cover you with the attack, or, even painfully, empty in your chest, rising under the fire to cast a fortune. and trenches.
Viktor Nekrasov, who led the whole Stalingrad epic on the front line, commanding the regimental sappers, guessed that at Stalingrad it was rare that journalists did show up, however, even though the “men of the pen” showed up infrequently and never again Lies down for the army headquarters . There were, however, also accusations: “Vasil Semenovich Grossman was in the divisions, and in the police, on the front line. Be in our regiment." And the most important testimony: “...newspapers from this city, like Yerenburg, were read with correspondence before our birthdays.” The Stalingrad paintings were the greatest artistic achievements of the writer at that time.
In the gallery of images created by Grossman in drawings, two warriors, with whom the writer met during the Battle of Stalingrad, were living depictions of the most precious folk character. This is the 20-year-old sniper Chekhov, “a young man whom everyone loved for his kindness and devotion to his mother and sisters, who did not hit his childhood with a slingshot,” but who “knocked him to the quick,” “who became cruel, cruel, and the holy logic of Vitchiznyaya. neither a terrible man, a messenger" (“Ochima Chekhov”). І sapper Vlasov from the “motorized one, like a scaffold” (from Grossman’s notebook, she fought against a new enemy), the wolf crossing: “It often happens that one person embodies in himself all the special forces of the great justice, the great robots that live under him cha His character reflects the character of an entire era. And first of all, Sergeant Vlasov himself, a great worker of peaceful times, a six-year-old lad who hustled behind the harrow, father of six diligent, unpampered lads, a man who was the first foreman at the collective hospital and the guard of the collective treasury, - and you the difference between the bitter and everyday heroism of the Stalingrad crossing Vlasov").
Grossman’s key word, the key concept that explains the strength of the people’s support, is freedom. “It is impossible to corrupt the will of the people until freedom,” he writes in the painting “Volga - Stalingrad,” calling the Volga “the river of Russian freedom.”
“Inspired people” - this is the name of one of the most well-known drawings-evidence (through the presence of other rapid-fire genre values, although it does not convey its originality to the creation, in which there is a specific, documentary basis for the work need the legendary-metaphorical artistic device) Andria Platonova. “Having known,” wrote Platonov about one of his heroes, “that war, like light, is inspired by happiness and there is joy in it, and you yourself have felt the joy of war, the happiness of the reduction of evil, and so on.” I feel it, and for this reason I am alive Other people live in war” (“Officer and Soldier”). Again and again the writer turns to the idea of strength of spirit as the basis of our resilience. “Nothing can be achieved without preparation in the soul, especially in war. However, the internal preparedness of our warrior before the battles can be judged both by the strength of his organic affection for Fatherlandism, and by his light-hearted creations in the new history of his land" (“About the Radian soldier ( Three soldiers)"). And in the fireplaces that flutter on our land, the most gratifying and greedy for Platonov is “emptiness.”
The war against fascism continues in Platonov’s works as the battle between “spiritualized people” and the “inanimate enemy” (this is the name of another Platonic drawing), as the struggle between good and evil, creation and ruin, lightening and darkness. “In this battle,” Vin respects, “the whole earth is reliving from the devastation.” But, looking at the war in the fundamental categories of people, the writer does not turn around in his own time, does not care about specific figures (despite this kind of unfair ringing: “Platonov’s witnesses do not have the time-fabricated historical people, our chasnik..." - he didn’t lose heart). The way of life of everyday life (or rather, it is the same light, because everything everyday, “speech” is interspersed by Platonov in this sphere) is invariably present in his works, but the author’s main goal is to show that the war is coming “for the sake of living on land", for the right to live, dihati, feel the children. The enemy has encroached on the very physical life of our people - the axis that Platonov dictates is the “universal”, extra-human scale. On the basis of orientations and style, which was influenced by philosophy and folk metaphorism, hyperbole, which is associated with the Cassian species, and psychology, alien to the Cossacks, symbolism and vernacular, but intensely love both the heroes’ language and the author’s language.
At the center of Oleksiy Tolstoy’s respect are the patriotic and military traditions of the Russian people, which provide a support, a spiritual foundation for the fascist slaughterhouses. And the Radian warriors who fought against the Hitlerite hordes, for the new direct decline of those who, “preserving the honor of the ancestral country, marched through the Alpine ice fields behind the horse of Suvorov, will first fail, defeating the attacks of Moscow Murat's cuirassiers, standing in a clean shirt, falling over the sacks of Plevna , alert to the order to go to inaccessible heights” (“What We Are Protecting”).
The constant brutalization of Tolstoy before history is explained in the style of the local vocabulary, the writer widely vikorist not only in archaism, but also in the simple language - as Tolstoy’s famous saying goes: “Nothing, we’re streaming!”
Characteristic of many drawings and journalistic articles during the war is a high tension. It’s not uncommon for drawings to be given subtitles of this type: “From the Scribe’s Notebook,” “Stories from the Shchodennik,” “Schodennik,” “Leaves,” etc. This passion for lyrical forms, for evidence, close to schodennik, was explained not so much by the fact that they gave great internal freedom in the transfer of material that had not yet been mastered, material that would literally mean today what a word, - the firebrand was in another : So the writer, having rejected the possibility of speaking from the first person about those who inspired his soul, directly expressed his feelings. “I drew inspiration from the seemingly collective huddled spirit, from the completely disintegrated people from the right-wing defense of Leningrad,” this is said by Mikola Tikhonov, but it seems that more secret writers are expressing here. No writer so clearly did not feel the heart of the people - for this reason he just needed to listen to his own heart. And no matter who you write about, you always write about yourself. Never before has the space between the word and the right been so short for a writer. And his visibility has never been so high and specific.
Sometimes the literary process of military history in critical articles looks like it goes from journalistic statistics, drawing, lyrical verse to the “solid” genres: stories, poems, dramas. It is worth noting that, as writers accumulated hostility to military activity, small genres disappeared forever. However, the living process is not included in the whole scheme. Until the end of the war, writers continued to appear on the sides of newspapers with drawings, journalistic articles, and the best of them were referenced, without any cost, literature. And the first stories and songs, in their own way, appeared early - in 1942. And, moving from drawing and journalism to looking at stories, we need to remember that a higher-lower approach, worse-lower assessments, are not suitable. There are some of the most significant, artistic works that have been seen many times since the end of the war: “The Immortal People” (1942) by V. Grossman, “The Unscored” (under the title “The Family of Taras”) (1943) by B. Gore Batova, “Volokolamsk Highway" (first part under the title "Panfilians on the first frontier (a story about fear and fearlessness)", 1943; another - "Volokolamsk Highway (another story about Panfilians)", 1944) A. Bek, "Days and Nights" (1944) ) K. Simonova. What is noteworthy is that they reveal a wide range of literary traditions, which the authors of the stories were guided by, expressing artistic influence in the face of the catastrophically evil military action.
Vasil Grossman began writing the story “The Immortal People” in the spring of 1942, when the German army was driven out of Moscow and the situation at the front was stabilizing. It would be possible to try to put it in some order, to comprehend the bitter testimony of the first months of the war, which scorched souls, to reveal those that were the essential basis of our support and inspired hopes of victory over the strong and small enemy, to know for whose organic figurative structure.
The plot of the story depicts the wider front-line situation of this time - our units, which were lost in exile, in a fierce battle, bearing important expenses, are breaking through the enemy’s ring. This local episode is considered by the author from the perspective of Tolstoy’s “War and Peace”, it is explored, expanded, the story becomes a mini-epos. The action is transported from the front headquarters to the old town, where the enemy aircraft struck, from the front line, from the battlefield - at the village buried by the Nazis, from the front road - at the retrenchment of the German troops. The story is densely populated: our fighters and commanders - and those who showed great spirit, for whom the experiments that failed became a school of “great hartovoy and wisely important species”, and government optimization sti, that at first they shouted “hurray”, but they were angry with blows; German officers and soldiers buried by the strength of their army and their victories; The townspeople and Ukrainian collective soldiers are both patriotically trained and ready to become servants of the prison guards. Everything is dictated by the “people's thought”, which was the most important thing for Tolstoy in “War and World”, and in the story “The Immortal People” it hangs in the foreground.
“Let not the words of the great and the holy, let not the word “people”!” – write Grossman. Unusually, the main heroes of his story were not military personnel, but civilians - a conscript from the Tula region, Ignatyev, and a Moscow intellectual, the historian Bogarev. The stench is a richly significant detail - the shouts of the army on that very day symbolize the unity of the people before the fascist invasion.
Symbolic and single combat - “they were born from long-standing hours of duels” - Ignatyeva with a German tanker, “grand, broad-shouldered”, “who passed through Belgium, France, who dulled the land of Belgrade and Athens”, “whose breasts himself Hitler decorated it with a “slimy cross.” This recalls the essence of Terkin with the “sitting, shinned, caring, gratuitous good-year-old” German, described later by Tvardovsky:
Like on an ancient battlefield,
Chest on chest, shield on shield, -
Instead of thousands, two fight,
Nemov bey to rule everything.
How richly sleepy in Ignatyev and Tjorkin! Actually, Ignatyev’s guitar performs the same function as Terkin’s accordion. And the controversy of these heroes shows that Grossman was inspired by the current Russian folk character.
Boris Gorbatov recognized that, while working on the story “Unscored”, he used “projectile words”, hastening to “secretly convey” the story “to the spiritual formation of our army.” I wrote this after Stalingrad, after the liberation of Donbass, having been there, seeing what happened to the people who fell under the rule of the occupiers, what places and villages, creeks and mines were transformed into. “...I only write those that I know well...” admitted Gorbatov. - Only because I myself am a Donbass citizen, who was born and lived there, and only because during the days of the war I was in Donbass, and in defense of it and in battles for another, only because I am with the military forces until now little Donbass, - I decided to write a book “Unscorched” about people I knew and loved ones. I didn’t live with them - I live with them. And a lot of the heroes of “The Unerasable” are simply copied from life - the way I knew them.”
The hunchback will not paint an epic picture of what is to come. Apart from that, Gogol’s romantic epic “Taras Bulbi” serves as an aesthetic reference point for our patriotism. The author of “The Unprecious Ones,” whose connection is with the Gogolian tradition of nudity for readers, is pointedly emphasized: at the first publication, Gorbatov’s story was called “The Family of Taras,” three main characters її – old Taras and yogo blue Stepan and Andriy – not It’s enough to repeat the names of the heroes of Gogol’s story, the setting of Gorbatov’s Taras to his blues, their share is small to remind readers about the drama in the homeland of Taras Bulba, about the conflict between patriotic and fatherly believers yam. The style of the story “Unscored” is similar to a baladi: like the verses, there are images that are repeated, consolidate the story, the main verbal leitmotifs; a phrase with which to end the division and place the pouch of the tenderly spoken, put at the beginning of the offensive division, creating their emotional fields.
Gorbatov’s story begins with a scene of the summer approach to the forty-other rock: “Everything is going down, everything is going down... If only one car would come in!” And everything around was filled with anxiety, like screams and haystacks, the creaking of wheels, the clatter of a climb, a hoarse husky, the cries of wounded, crying children, and it seemed that the road itself was creaking and haystacks under the wheels, rushing from the saddle between the slopes...” And he’ll finish. be allowed from the firehouses, from the presence of our army and from the approach of the German: “The stinks were coming... The long, gloomy colonies of the full Germans were being hunted down. The Germans came out in green greatcoats with tattered tabs, without belts, no longer soldiers - they were full.” They left, just as our troops left, the same “overcoat without straps, without a belt, with a sidelong look, hands behind the back, like convicts.” And between these rivers there is the river of life in a factory settlement, occupied by the Nazis, - a terrible river of reprisals, lawlessness, humiliation, and servitude.
Gorbatov’s story was the first serious failure in the reporting of what happened in the occupied territory, how they lived there, how people lived who died in fascist captivity, how they suffered from fear, how they blamed the prisoners of the civilian population, deprived to the will of the lot, to the outside world. To be surrounded by too much light, having become a witch, with wicked constipations and locks (“We don’t get bored!”), to sit in one’s little room – this was the first reaction of old Taras. Ale was in trouble: it was impossible to settle down like that.
“Life was impossible.
The fascists have not yet fallen upon the homeland of Taras. No one from their loved ones was killed. No one was rolled up. They didn't steal. They didn't pick me up. A German has yet to visit the old little house at Kamyan Brody's. But life was impossible.
They didn’t drive it in, but come what may, they could have driven it in. They could sneak out at night, they could sneak out on the street in broad daylight. They could have pulled out of the car and driven it to Nimechchina. They could have brought the court to the wall without guilt; They could have shot you, or they could have let you go, laughing because they were human beings in the dark. They could do anything. They could have - and it would have been worse, even if they had killed. Over Taras’s little house, as well as over everyone’s little house near the town, fear spread out like a black shadow.”
And further in the story, we learn about the fear that comes with it, about those who, in their own way, provide support for the firebrands, joining in the fight against them. Old master Taras is inspired to renovate his plant and engages in sabotage. His senior son Stepan, who was the secretary of the regional committee, the “sovereign” of the region, organizes and maintains an underground organization; Taras’s daughter Nastya becomes a fellow worker, having finished school before the occupation. The young son Andriy, having lost his strength, crosses the front line and turns around in the same place, already in the lavas of the army, where he was released. In the stories of Stepan and Andriy Gorbatov, those ailments of military activity are buried, which no one has ever dared to approach. Now, after a century, it is clear that not everything was revealed to the author of “The Unprecious” by the real world, who cared about ideological blinders, but nevertheless, he took up Vibukhov’s material, which at that time there was little thought c.
Vibrating underground groups, contacting people who were “active” in peacetime, Stepan reveals - this is for the new, knowledgeable “cadres” and a well-established kerivnik, who can bet the unsubdued, - among those who have been corrupted icy trust, being at In the reign of favor, there appeared both cowards and rebels, and among the unknown, “unpromising” and stubborn, who thought and acted in their own way, disliked by the authorities, there were people, until the end of the Fatherland, true heroes. “Oh, it’s rotten for you to know people, Stepan Yatsenka,” the Gorbativ hero reproaches himself. “And I live from them, I drink, I drink, I work... And I don’t know the main thing in them - their souls.” But in no way on the right, the “lord” of the region has mercy here (and at the same time the author): everything that you, as the secretary of the regional committee, needed to know about the people, having known, was not suitable, the system itself was predatory, soulless-official people's assessments.
The share of Gorbatovsky Andriy is projected to be the share of the young son Taras Bulbi. Ale Andriy did not make Fatherland happy, and he has no guilt in the fact that he, along with tens of thousands of them, like him, has lost his lot, wanting to study with his father in a new hospital and branding him as Taras Bulba for his young son, and if Andriy having crossed the front line, they “were fed from a special branch for a long time.” And he himself believed that he was guilty for not letting the ball into his head. And, perhaps, the author also has so much respect for the story of Andriy told to him, and we decide to diverge from such an assessment. But behind all this stood the greedily cruel order of Stalin: “the joy of the Fatherland is complete,” the most important legal and moral legacies of any revolution could not be lived out.
The plot of “Volokolamsk Highway” by Oleksandr Bek even resembles the plot of Grossman’s story “The Immortal People”: a battalion of the Panfilian division, which was sunk after important battles in the forty-first near Volokolamsk in a sharp hole It is the enemy of the ring and joins with the main forces of the division. But we immediately fall into great importance in the development of this plot. Grossman is determined to expand the hidden panorama of what is to come. Beck limits the investigation to one battalion. The artistic world of Grossman's story - the heroes, the military parts, the place of the world - is generated by his creative imagination, Beck is documentarily accurate. Axis as he characterizes his creative method: “The jokes of the heroes, what happens in life, the travail of spilkuvaniya with them, conversations with anonymous people, the patient collection of grains, detail, development is not less for the power of caution, and for sawing.” there is no spivrozmovnik..." to Volokolamsky Highway" tells the true story of one of the battalions of the Panfilian division, everything in it corresponds to what happened in reality: geography and chronicle of battles, characters.
In Grossman's story, the omnipresent author gives the information about people's lives; in Beck's story, the speaker is the battalion commander Baurjan Momish-Uli. It is important for us that those who were with his battalion share their thoughts and doubts, explain their decisions and plans. The author himself recommends to readers that he is a “smart and diligent copyist” who cannot be taken at face value. This is no more than an artistic device, because, speaking with the hero, the writer finished talking about those that seemed important to him, Bek, compiling from these accounts both the image of Mamish-Uli himself, and the image of General Panfilov, “who was Vati, don’t get involved with a cry, and with reason, from a former ordinary soldier who preserved a soldier’s modesty until his death,” wrote Beck in his autobiography about another very dear hero of the book.
“Volokolamsk Highway” is an original artistic and documentary work related to this literary tradition, which is found in the literature of the 19th century. Glib Uspensky. “Under the guise of a completely documentary story,” Beck confessed, “I wrote the truth, following the laws of the novel, without limiting the reality, creating in the world the forces of character, scenes...” Of course, both in the author’s declarations of documentation, and in his statement about those , that the wines are not separated from the surface, it is like slyness, the stench of the bottom of the bottom: the reader may wonder, what is this reception, gra. But Beck is naked, demonstrative documentary is not stylization, well-known literature (suitable for the butt of “Robinson Crusoe”), not the poetic dress of the drawn-documentary cut, but a method of insult, investigation and creation of life and people. And the story “Volokolamsk Highway” is inspired by the unknown authenticity of rumors from friends (as Beck writes that on the thirteenth day “everything was covered in snow” - there is no need to go to the archives of the weather service, you may not be able to It's true, that's how it was). This is a unique, yet accurate chronicle of the bloody defensive battles near Moscow (as the author himself designated the genre of his book), which reveals why the German army, having reached the walls of our capital, could not take it.
And most importantly, through which “Volokolamsk Highway” is committed to promoting artistic literature, and not journalism. Behind the professional army, military turbos - discipline, combat training, battle tactics - such as the Momish-Uli sinkholes, for the author there are problems of moral, human, complicated by the circumstances of war, which constantly put people between their lives here and death: fear and masculinity, self-devotion and egoism, fidelity and goodness.
In the artistic style of Beck's story, there is a polemic with propaganda stereotypes, with battle cliches, the polemic is obvious and accepted. It is obvious that this is the character of the main character: he is sharp, not smart to get around the sharp corners, he does not forgive himself for weaknesses and pardons, he does not tolerate marsal and lush. Axis characteristic episode:
“Having thought and thought:
- “Without fear, the Panfilians rushed into the first battle...” In your opinion, what is a suitable cob?
“I don’t know,” I said casually.
This is how the corporal of literature should write,” he said firmly. “During the day that you live here, I have commanded you to take you through such small places, where sometimes two or three mines burst, and sometimes whistles whistling. I want you to survive the fear. You don’t have to confirm, I know without knowing that you had to stifle fear.
Then why do you and your comrades realize that it is supernatural people who fight, and not like you?
Twenty years after the war, Kostyantin Simonov wrote about the “Volokolamsk Highway”: “When I first (at the hour of the war. - L.L.) read this book, the heads almost felt shocked at its impossible accuracy, at its painful reliability Istyu. I was also a military correspondent and respected that I know the war... Well, if I read this book, I will be amazed and surprised that it was written by a person who knows the war accurately and accurately. me..."
Simonov actually knew the war well. From that hour, when in the early forty-first war, having destroyed the entire army on the Western Front, they had to bear the head blow of the German tank columns, in just the first fifteen months of the war, until the editorial staff brought him to Stalingrad, for sure without having tasted wine. , why didn’t I learn more? It was a wonder to emerge from the linden forest of forty-first from the crooked sum of the sharpness. Boud is under taxation of the enemy of Odessa. Having taken part in the combat campaign of the underwater ship, having passed the Rumanian port. He went on the attack with the Infantrymen on the Arabatskaya Strіltsi in Crimea.
And yet, what Simonov learned at Stalingrad shocked him. The ferocity of the battles for this place reached these extreme boundaries, so that now there is an important historical boundary in the hour of fighting. Lyudina, a streamer in the manifestation of her feelings, a writer who always scratched the surface of thick phrases, and finished one of the Stalingrad drawings, perhaps pathetically:
“The land next to Stalingrad is still peaceful.
If only people in the Mozhaisk district knew the word “Borodino”, it was the district word. And then one day it became a popular word. Borodino’s position was neither better nor worse than the many other positions that lay between the Neman and Moscow. Ale Borodino appeared to be an impregnable fortress, because here the Russian soldier himself decided to lay down his life, rather than give up. And that’s why the milky river became impassable and the hills and copses with our seemingly steep trenches became impregnable.
The steppes near Stalingrad have a lot of weightless hills and rivers, a lot of villages, the names of which no one knows for a hundred miles away, but the people wait and believe that the name of one of these villages will resound throughout the centuries, like Borodino , and that one of these steppe wide fields become a field of great victory.”
These words turned out to be prophetic, which became clear even when Simonov began writing the story “Days and Nights.” All the smells, which have already been recognized as historical - in the most precise and most meaningful way of the word - appear in the story as if the stinks were smelled by the inhabitants of the ruins of three Stalingrad booths, in their entirety buried in order to defeat the German attack during the day, and rescue them at night from the buried I will use them in the basement to smuggle cartridges and grenades from the gate-cut booths. Having given up their skin from them, they thought it was a little, but they were overzealous and careless on the right, not thinking that everything would work out in the end. The history in the story of the Nemovbi was buried, and it was not possible to put it in order so that it would be known to future artists - romantics and monumentalists. Transferred to the mystic world in its original form, those who lived in Stalingrad may be heard by the author of “Days and Nights.” Varto means the closeness of the aesthetic positions of Simonov and Bek (not surprisingly, Simonov rated the Volokolamsk Highway so highly).
Inheriting Tolstoy’s tradition (Simonov has said more than once that there was nothing more than Tolstoy’s greatest expression in literature, although in this episode we are not talking about the epic scale of “War and Peace”, but about a fearless look at the cruel everyday life of war in “ Sevastopol evidence"), the author tried to reveal "the war in reality is expressed - in blood, in suffering, in death." This famous Tolstoyan formula includes Simonov and the backbreaking everyday work of a soldier - marches of many kilometers, if everything that is needed for battle and for life has to be pulled on oneself, viriting, digging trenches and dugouts in the frozen ground - mute numbers їм. That trench work is a soldier's need to be in control, to sleep and to wash himself, to patch his tunic and do good work. It’s a wretched, hellish life, but you’re getting nowhere, you need to stick to it, and besides, if you don’t worry about anything and grub, about smoking and food, people will never find a peaceful life in the face of mortal danger Yu.
“Days and Nights” were written with the precision of a drawing, from the painful weariness of everyday life at the front. Ale figurative tone of the story, the internal dynamics of the images and characters are directed towards those in order to reveal the spiritual image of those who stood to their death at Stalingrad. In the story, the first stage of very fierce battles at the site will end with the enemy, having cut the division, before entering the battalion of the protagonist of the story, Saburov, at the army headquarters, reaching the Volga. It would seem that everything was over, the further support of the foolish people, but the inhabitants of the place and after whom did not recognize their victories and continued to fight with unrelenting courage. No matter how strong the enemy was, he could no longer instill fear or embarrassment in them. Just as the first battles, as depicted in the story, erupt with borderline nervous tension, fierce lack of self-confidence, now the most characteristic thing for the writer is the calm heroes, their song, so that the stink can stand, that the Germans And they cannot be healed. This calm defencists became a manifestation of the highest masculinity, the highest level of masculinity.
In the story “Days and Nights” the heroic figure appears in the greatest manifestation. Smental, the power of the SIMONS heroes, they do not throw in the hearts of the Zvichah Mirniye certains, manifest in the case of the Khvvinni, the death of death, the heavy Vyprebubanni, and the self-doped man of the masculine is the masculine in the head of the head of the head of the ludsko-venerativity. In the people's war, the result of which lay under the influence of the patriotic sense of impersonality of people who were intersecting participants in historical cataclysms, the role of the primary people was not reduced, but advanced. “Days and Nights” helped readers to understand that the Germans were defeated and corrupted at Stalingrad, not by the marvelous rich people who were nothing, even though they didn’t drown by the water, and they didn’t burn by the fire, but mere mortals who drowned freely what crossings and they burned in the burnt half-holes of the districts, which were not plotted by the cults and tricks, which were difficult and scary, - each of them had one life, which needed to be resolved, which had to be separated, but all at once the stench died away. 'tongue, stood up.
These stories by Grossman and Gorbatov, Bek and Simonov outlined the main direct war prose of the war and revealed the supporting traditions of the classics. The evidence of Tolstoy's epic comes from Simonov's trilogy “Alive and Dead” and from Grossman's dilogy “Life and Share.” In its own way, the harsh realism of “Sevastopol Accounts” is revealed in the stories and accounts of Viktor Nekrasov and Kostyantin Vorobyov, Grigory Baklanov and Volodymyr Tendryakov, Vasily Bikov and Viktor Astafiev, Vyacheslav Kondrat Eva and Bulata Okudzhavi, she is related to him . The romantic poet was given by Emmanuel Kazakevich in “Zirtsa”. Documentary literature has occupied an important place, the potential of which was demonstrated by A. Beck during the war, and its successes are associated with the names of A. Adamovich, D. Granin, D. Gusarov, S. Oleksiyovich, E. Rzhevskaya.
Anti-Radyan Hitlerite propaganda in the rapidly occupied territory still dominated all Radyan's journalism and the recruitment of highly qualified doctors. In connection with this, for the first time in the history of social media, hundreds and hundreds of Radian letters were sent to the editors of newspapers, radio news, and information agencies. Already 24 chervenya 1941 r. The first volunteer writers rushed to the front, B. Gorbatov - to the Pivdenny Front, A. Tvardovsky - to Pivdenny-Zakhidny, E. Dolmatovsky - from the newspaper of the 6th Army "Zirka Rad", Simonov - to the newspaper of the 3rd Army "Boyoviy Prapor".
Similar to the resolutions of the Central Committee of the All-Union Communist Party (Bolsheviks) “About the work of special correspondents at the front” (mid 1941) and “About the work of military correspondents at the front” (spring 1942), the writers honestly wrote down the military service obligation, often risking power life The personnel of the Red Army and the Military-Moscow Fleet had 943 scribes during the Great White War. Of these, 225 died at the front, 300 were awarded orders and medals to the Union of the Russian Socialist Republic.
The unsafe work of writers as military correspondents allowed them to be in the thick of combat operations and provided a wealth of material for brilliant artistic and journalistic works. During the period of his activity in the newspaper of the Pivdenny Front “For the glory of the Fatherland”, Boris Gorbatov wrote his famous “Leaves to Comrade”, in the editorial offices of the military newspapers the songs “Sacred Stone” by A. Zharov, “Let’s light a smoke” by Y. Frenkel, and became known to all the Radians to people. “Farewell, rocky mountains” by N. Bukin.
The journalism of the hours of war is even varied. Vaughn did not know her peers in world history and was popular for her fusion of journalistic talent, her special relevance to the need to fight for the freedom of the Fatherland and their connection with real life. The newspapers at this time published many sheets of labor workers, army fighters, and labor workers, which made people feel like they were facing a foreign enemy. From the first days of the war, prominent publicist writers M. Sholokhov, A. Tolstoy, N. Tikhonov, K. Simonov, B. Gorbatov, L. Leonov, M. Shaginyan and others began to write about the war for newspapers. The stench created powerful creatures that converted people at the May Day, that patriotic songs were chewed in them, that supported the faith and devotion of the inviolability of our army. In the early days of the war, this creation called people to defend the socialist Greatness, to cross the border and believe it, to fight the enemy. The works of these authors were published in many front-line newspapers.
The correspondence of military correspondents played an important role. One of the most famous names is K. Simonov. You have walked thousands of kilometers along military roads, and described your impressions in numerous drawings, reports, stories, verses. This suvoro streaman’s style of the sheet suited the readers, cried out to trust, inspired faith and hope. These pictures sounded on the radio and were broadcast by the channels of the Radinformburo. His famous verse “Wait for me” became the mantra of most people before the war.
Journalism and satirical genres. Pamphlets, caricatures, and feuilletons were widely published in newspapers and magazines. There were specialized satirical shows “Frontline Humor”, “Draft” and others. The most important place in the journalism of military rocks and photojournalism. The photojournalists captured it, reported it to the day-to-day people, and saved it for the heroes of everyday life at that hour. Born in 1941 The special magazine “Front Photo Illustration” and “Photo Newspaper” were published.
Statistics and drawings of A. Tolstoy, M. Sholokhov, I. Yerenburg, the verses of Simonov and Surkov, writing in his book “Russia in the War 1941–1945” by A. Werth, “reading literally the skin.” To be at the bits of the bouts of Bіitsі did not grow out with Tomik Virshiv K. Simonov, I loved, “with you without you”, with “Vasil thermal” by A. Twardowski, Za Virshami M. Isakovsky “At Lsi Frontron”, and “Vognik”, and “Vognik”, and Surkov’s “At the Earthlings”, rich in other popular songs.
The peculiarity of the journalism of the Great German War is that the traditional newspaper genres - statistics, correspondence, drawing - were given the brilliance of artistic prose by the pen of the master of words. M.A.’s front-line correspondence can be remembered in many wonderfully subtle ways. Sholokhov “On the road to the front.”
One of the main topics of Ukrainian journalism is the arbitrary mission of the Red Army. Without us, writing to O.M. Tolstoy, the Germans cannot fight Hitler, but they can only help them in one thing - beat Hitler’s army, without giving a day or a day a change. The Soviet Union's journalism inspired the fight for the liberation of all the people of Europe, over whom the blackness of fascism had fallen.
In the system of the military hand, an important place was seated in the central vision. At the start of the Great White War, the Red Army and the Navy published 5 central newspapers. The stinks were insured at the middle and senior officers' warehouse. The “Chervona Zirka” continued to lose its leadership from the Radian military press, the editors of which, with the beginning of military affairs, were replenished with new forces. The greatest Radyan writers P. Pavlenko, A. Surkov, V. Grossman, K. Simonov, A. Tolstoy, I. Yerenburg and a lot of others. During the Great White War, 1,200 issues of the newspaper were published. And the skin behind them is a heroic chronicle of the military capabilities and operational power of the Red Army.
The military-sea fleet's central organ was the newspaper "Chervoniy Flot". In the spring of 1941 a newspaper was published for the special warehouse of the Military-Insurgent Forces “Stalin's Sokil”, and in 1942. "Chervony Sokil" - for a special warehouse of long-range aviation.
At the time of the Great White War, 20 magazines were published in the army and navy. The head of the Political Directorate of the Radyan Army has seen the Agitator and propagandist of the Red Army, the Agitator's Notebook, the literary and artistic magazines of the Red Army, the Front illustration. There were magazines for every kind of military: “Artillery Magazine”, “Journal of Automotive Armored Forces”, “Military Engineering Journal”, “Ring of the Red Army” and so on.
Vantaged...