The artistic features of Shukshin's prose briefly. Artistic features of V. Shukshin's stories. Questions to study

V. Shukshin adhered to his understanding of the nature of the story and the principles of working on it. The main and defining thing for a writer is an orientation towards oral folk art: a fairy tale, a song - with their rigor, sense of proportion, respect for the listener. As the writer noted, folk art has never taken a deliberate form; “empty self-indulgence,” “mannerness,” or “cold games of the mind” are alien to it.

Shukshin’s word, rich in intonation, is perceived by us as if voiced; it accurately reproduces the change in psychological states of the characters, plastically outlining the appearance and spiritual structure of the characters. We can say that the word, whose role is multifunctional, largely creates the necessary form of a story, novel, or novel. “I know when I write well: when I write and as if with a pen I pull out the living voices of people from paper” Shukshin V. Morality is Truth, p. 238.

In their artistic quest Shukshin transformed genres, opening up their new possibilities and reserves. However, Shukshin's innovation is traditional. And there is nothing paradoxical in this. Shukshin, depicting and poetizing the innermost in real life, was guided by the people's attitude, humor, speech, and relied on the traditions of the classics. The new grew organically on this foundation. The transformation of genres, moreover, was born in line with the classical tradition as its necessary continuation at the present stage. And therefore we never feel in V. Shukshin’s work that the work is “made,” deliberate, experimental. The work of Vasily Shukshin. Method. Poetics. Style. -- Barnaul: Alt. book publishing house, 1997

The desire for high simplicity and clarity in Shukshin’s work manifested itself more deeply and consistently. Reading Shukshin's prose, watching his films, we seem to enter real life, get to know it anew, without thinking about the fact that this life is artistic, created by the author; it is presented by the writer in its entirety. The true art of transformation, sophisticated knowledge, and artistry found expression in a deceptively simple form.

Without the stories of V. Shukshin, it is no longer possible to consider the modern literary process, to analyze the trends and direction of development of prose. And although many talented writers of our day work in this genre, Shukshin’s story brilliantly demonstrates the dynamism, capacity, and promise of this genre. Shukshin's story, among many modern stories, bold and original in terms of genre, solved new, unexpected problems, invading the boundaries of great artistic prose.

Reflecting on the genre of the story, Shukshin wrote: “Here are the stories as they should be:

The story is destiny.

The story is the character.

The story is a confession.

The smallest thing that can be is a joke story.

No, literature is still the life of the human soul, not ideas, not considerations of even the highest moral order.”

Shukshin's characters are historical. The story is “settled” in the type itself: in the mental structure, speech, appearance of this or that character. His belonging to a certain time, period or era is organic; it seems that this character was sculpted by time itself. A “special sign” of character is moral and psychological traits, the emergence and development of which correlates with a specific time. The work of Vasily Shukshin. Method. Poetics. Style. -- Barnaul: Alt. book publishing house, 1997 Speech, a way of thinking, an action show us established traits, their evolution or the moment of a turning point. Baev, separated from agricultural work, “got smart” and “rose by leaps and bounds” in fraudulent transactions in the difficult post-war years, emerging as a private entrepreneur. Shurygin’s “strong man” type is a phenomenon of the 20s. Yegor Prokudin “appears” as a historical character in the post-war years. Serge, Kat, “energetic” - phenomena of our days, etc.

In the work of V. Shukshin, the movement of time is expressively embodied in his amazing characterology. In the writer’s stories, the war and post-war years are clearly recognizable (“From the Childhood of Ivan Popov,” “Uncle Ermolai,” “Conversations under a Clear Moon,” “Su-raz”). Many of the characters’ characters “go back” to the 20s and 30s; the heroes’ memories complement the pictures of the past with specific experiences. Time comes to life.

The most important support for character drawings were the signs of ordinary life visible on the surface. This everyday life, urgently necessary for the writer and playwright, is reproduced plastically, accurately, convincing the reader and viewer of its significant significance. People live here! Shukshin’s characters exist in this environment; they themselves “create” their objective, temporary environment and are inseparable from it. In the story “In Autumn,” different time periods pass before us - from the beginning of the revolution to the present, captured in precise details and in serious collisions, in speech, in the stories of the heroes. The author with great skill reproduces historical features and details in the drama of characters and in the comedy of manners, for example, in the stories “Muzhik Deryabin”, “Non-resistance Makar Zherebtsov”, “Hello Greyback!”, “My son-in-law stole a car of firewood!”, “Shameless”. The analytical thought of the writer, highlighting certain socio-psychological signs and qualities of characters, insightfully recognizes the important and hidden in ordinary life. The stories are created as a result of the author’s deep reflection on specific issues of the people’s existence. Kozlova SM. Poetics of Shukshin's stories. - Barnaul-Alt book. publishing house, 1992.

Shukshinsky's story is organized by the situation. Its choice corresponds to the writer’s plan, and its concreteness, richness of action, and hidden dynamism correspond to the requirements of saving money, a sense of proportion, and laconicism. A dramatic or comedic situation is depicted, with rare exceptions, without any preliminaries, title cards or prologue to the action.

The plot situations of the stories are acutely peripeteia. In the course of development, their comedic situations may be dramatized, and something comic may unexpectedly be revealed in the dramatic ones. In a collision and in the changing positions of the heroes, of course, it comes to life real life with all its diversity. But in plot situations and conflicts, the writer’s generalizing thought, a creative vision of reality, captured in contradictory dynamics, are concretized. The plot situation quickly and nakedly conveys moments of disharmony in the spiritual states of the characters, a disruption in the flow of their lives. By comprehensively identifying unusual, exceptional circumstances (most often already at the beginning of the story), the plot situation contains an indication of a possible explosion, a catastrophe, which, having erupted, breaks the usual course of life. Curiosities, absurdities, eccentricities arise as a result of fluctuations or ruptures in the generally accepted, and therefore comedy in its essence is significant, serious. Characters in such situations behave unusually, challenging the generally accepted. Most often, the actions and actions of the heroes are guided by the desire for happiness, justice, and spiritual search.

So, the development of the situation means a break, a sharp shift in the usual course of life. The explosive force hidden in the emerging collision can cause a chain reaction, the movement of which fades away outside the plot. This feature of a conflict situation characterizes its prospects, scope, movement in breadth and depth - into reality. It is quite clear that the heroes in this whirlwind content, with their actions and speeches, destroy stereotypical concepts of the norm. Refuting with all its essence and demeanor the average, stable, and even impoverished idea of human personality, V. Shukshin’s heroes convince us of the endless variety of individuals, characters, “heads and hearts.”

The volume of the situation, the richness of its socio-psychological content, the vicissitudes - all these are specific qualities of the stage, the effectiveness of the story. One of the forms of embodiment of such situationality is the polyvariance of its development, during which the prospect of expanding and completing the collision already outside the boundaries of this story opens up - in another version of it, which, in turn, indicates the possibility of further movement, etc. D. Kozlova SM. Poetics of Shukshin's stories. - Barnaul-Alt book. publishing house, 1992.

Another form that reveals the internal content-problematic connections of stories can be called cyclization. This is a more complex type of combining stories at the level of their content-problematic interaction, in which, as in the first case, each story retains its independence and originality. Situational and characterological continuity expressed in cycles is determined by the volume of content and life material analyzed by the writer. Thus, the cyclization of stories is a form of reproducing the essence of life, temporal and spatial connections, the fluidity of endless human existence. One example of such cyclization is the combination of stories about the childhood of Ivan Popov (“From the Childhood Years of Ivan Popov”), externally connected by the fate of one hero. However, the deep continuity of many scenes and episodes is manifested in the integrity of the child and teenager’s perception of the events of the pre-war and war years, impressions that the author-storyteller so carefully preserves. This means that in this case, cyclization is a form of embodiment of a complicated concept of reality, which is reproduced from different points of view (the hero, the mother, their environment, the author).

Cyclization is characteristic of satirical works, where the combination of stories and tales is determined by the artistic concept and principles of typification.

And yet, each story by V. Shukshin is a special case, with a single character. Therefore, the resolution of the drama is also one of a kind. Even if we discover a common basis for the conflict: the restoration of justice, violated human dignity, the search for one’s destiny, each of its options and resolutions is special.

“Suraz”, “Raskas”, “Fingerless”, “The Sorrows of Young Vaganov”, “In Autumn”, “The wife saw off her husband to Paris”, “My son-in-law stole a car of firewood!”, “Other games and fun”, “At night in the boiler room “- the stories, seemingly thematically close, convince us of the uniqueness and intrinsic value of each case and its ending. Even a funny story unexpectedly makes you guess the significance of the case hidden behind it, evoking sympathy for the hero.

The actions of the heroes are sometimes unexpected, often unpredictable, they force us not only to be surprised at human characters, but also to treat the individual with respect and take her into account.

Death visits Shukshin’s heroes, and it seems there is nothing mysterious about it, although the transition from a frantic “gypsy girl” to eternal peace is tragically unnatural. Death is the destruction of life, an irreparable misfortune (“Grief”, “How the Old Man Died”, “Suraz”, “Zaletny”, “The Hunt to Live”, “In Autumn”, “The Sun, the Old Man and the Girl”, “There Was a Man”,” Glow rain"). Gorn V.F. Characters of Vasily Shukshin. -- Barnaul: Alt. book publishing house, 1981. 247 p. The wisely calm acceptance of death as an inevitability that completes a person’s path is folk at its core. The philosophical content of many stories is due to the author’s desire to “pair” the truths of human existence with the inevitability of the completion of its cycle, to discern the beginnings and ends of a person’s life in one single destiny, which is included in the unstoppable movement of time. But this does not at all mean submission to fate or fatalism.

Yes, the characters are complex. The dramas reveal a struggle of opinions, clashes of polar positions. At the climax, the most painful points are exposed: discord in the soul, hidden suffering, disharmony in the lives of the characters. Many of them die in the name of an idea, a strong passion, for the sake of asserting their dignity. A dramatic situation, however, freely absorbs comedic elements into the sphere of action, which either accompany the drama or, preceding it, indicate the possibility of a different resolution of the conflict. The intersection of diverse elements, unexpected turns of action - “from the great to the ridiculous”, characterizing the originality of Shukshin’s interpretation of existence, convinces of its complexity and diversity.

Situations in stories are the least amenable to “clarification”; they require three-dimensional perception: in the noise of voices, in color, in a sharp change in stage plans with an unexpected ending. Internal tension Having reached an extremely high point, it can be resolved dramatically or comedicly. These are the situations in the stories “The Sorrows of Young Vaganov”, “Version”, “Hahal”, “Withers, Disappears”, “Shameless”, “At Night in the Boiler Room”. Vertlieb E.V. Shukshin and the Russian spiritual revival. -- New York, 1990.

Shukshin’s heroes, sharing the pathos of the writer’s spiritual quest, offer their explanations of what is happening to man, to us, in our time, and their programs for personal improvement. V. Shukshin is demanding of people. That is why his criticism and denunciations of everything immoral are so severe. Otherwise the writer would not have come to satire.

Born in Altai in the village of Rostki. His teenage years occurred during the Second World War. A difficult, hungry war childhood shaped Shukshin’s character. Early adulthood. Hunger after the war, material distress. He leaves the village at the age of 17 to help his family: “it was sad and a little strange...”. Threshold stage: on the one hand, boyishness, excitement, on the other hand, fear for your family, earnings. The father dies at the front, the son is given responsibility.

Shukshin, like Rubtsov, serves at the front. At the same time, he is trying to get an education. At the age of 22-23 he returns to his homeland, teaches Russian language and literature at school. At the same time, Shukshin felt that he had not fully realized himself. A year later, he goes to Moscow, enters the Institute of Cinematography - GIK, in the directing department. His first film is called “There Lives One Guy” (this is his VKR). He acts in films himself. His acting talent is revealed. At the same time, Shukshin writes excerpts, notes, essays - his writing talent develops. His prose can easily be turned into a screenplay. He writes concisely and succinctly. He succeeds in a small form of organization of the story.

Publishes his collection “We are with Katun” (belongs to the village tradition). The theme of the small Motherland, lively sketches of characters, people, everyday events (life of the Altai hinterland). Precision, observational narration. For 16 years (58-74). Starring in the film “They Fought for the Motherland” - he dies on the film set at the age of 45.

Features of the narrative style. Features of creative evolution. The originality of poetics. Transformation of rustic themes

The predominant image in the early stories common man, transformed into the image of a villager, ideals associated with morality. In general, the early Shukshin ideal, like the ideal of the village tradition as a whole, is found in the world of a small homeland with clear moral guidelines.

In the stories of the 60s, the hero’s relationship with the world becomes more complicated. Initially, an integral moral character, but then the contradiction in the nature of Shukshin’s heroes becomes more complicated. Shukshin’s creative evolution follows this line. Going beyond the framework of village literature towards deepening the nature of the hero, the village world itself, which appears even in a mythological form, ceases to be the bearer of the author’s ideal. The contrast between rural and urban civilization is somewhat diminished in him. The hero’s belonging to the rural world does not save the hero from contradictions and attempts to comprehend the world.

Shukshin's great artistic discovery - he succeeds create a new type of fiction hero. Shukshinsky weirdos- a type of hero that densely populates his prose and cinematography. In consonance, eccentric correlates with the concept “eccentric”. An eccentric is a special invariant that differs from the original prototype of an eccentric. From Cervantes' Don Quixote to Goethe's Faust, eccentric heroes are found. He is an eccentric because he looks strange, incomprehensible to his contemporaries who live with him in the artistic world of the work. The eccentric hero becomes the embodiment of the author's ideal both in Don Quixote and in Faust, because such heroes are ahead of their era with wisdom, the embodiment of the author's ideals. They live with the laws of the universe that surround them.

The Shukshinsky cranks are an interesting version of crank heroes. The form of the word eccentric-eccentric shows the direction of the transformation that is taking place. Shukshin's weirdos are also ridiculous, incomprehensible to those around them, commit incomprehensible actions, dramatic developments of events... These heroes are by no means sages (the difference between Shukshin's heroes). An eccentric is an eccentric, devoid of wisdom, but not because he brilliantly discovers and foresees new values ​​and ideals. They are not philosophers, not geniuses. For Shukshin, something else is important - the intuitive desire to change something in life, to find something in life, but since there is not so much education, good intentions turn out to be an embarrassment. The Shukshinsky weirdo feels dissatisfaction with his daily existence and intuitively looks for a way out of his situation. As a result, the intuitive feeling pours out, the weirdo begins to look for opportunities to push the boundaries of the life in which he lives. We need to make the world at least a little better for our neighbors. Freaks do not think in terms of culture or nation, but strive to make life around them better. For Shukshin, their dissatisfaction and the search for new horizons are important.

Shukshin's stories have a heuristic structure. The principle of novelism associated with a dynamic image of a bright event. Shukshin combines novelism with cinematography. His stories are built like a chain of short stories. Sometimes two or three pages is the length of the story, it is laconic. This is the one feature of the plot: dynamic plot and construction of a chain of short stories(like a film, a chain of episodes is glued and assembled). This is how the novel is constructed, the editing sequence is clearly visible, even one central event is divided into episodes, the saturation is very high in a fairly small space.

Other stylistic feature - dialogism, a lot of direct speech from the character. The author's presence is also there, but you still get the feeling that Shukshin's works consist of dialogues (like in a movie). Shukshin's dialogues occupy a large place. There is also the hero’s inner word: the hero’s dialogue with himself, and the author’s dialogue with the reader. Dialogicity is not only at the level of the narrative structure of the organization. Dialogue as an internal feature of poetics, at the level of semantics and content. The characters enter into dialogue with each other, with themselves. The path of Shukshin’s hero is a path to self-knowledge (even an intuitive path). The actions themselves are polemical and dialogical both in relation to the world and to oneself. Shukshinskaya prose is fully the element of dialogue from the point of view of both semantics and artistic search.

Let's look at the chain of stories where the Shukshin style is established. The story is like a chain of events, micronovels.

Story « Space, nervous system and a lot of lard" The story is structured as an almost continuous ongoing dialogue between two characters. The heroes talk on a winter evening in a village house. Heroes: old man Naum Evstigneevich and a boy, eighth-grader Yurka. Yurka and his family move to a village where there is a school, and old man Naum Evstigneevich also lives there. Jyrka's family lives quite poorly. Yurka dreams of studying to be a doctor. The old man is NOT a stingy man, of the old school, the opposite of the dreamy and romantic Yurka. At the same time, it is a very cheerful and lively story that simulates the meetings of these two consciousnesses. A chain of fading and flaring stages of dialogue.

Two short paragraphs, and a living picture appears before us, Shukshin’s living word, without unnecessary detail. Before us is a clash of completely opposite characters. At the same time, a sincere, selfless desire perfectly characterizes the hero himself, who believes in the power of education and sincerely strives to expand the boundaries of his world as much as possible and become useful. At the same time, this is romantic youthful enthusiasm and maximalism. He is ready to sacrifice everyday conveniences and comfort for the sake of his dream. Practical Eust. asks Yurka how long he should study and whether he wants to. Pride and strength of character are evident in Yurka; he strives to defend his dream. The old man is not lazy, not a quitter, he is a “strong” owner, a farmer, a peasant, a kulak. We are faced with a difference in mentality: on the one hand, a lack of understanding of Yurka’s childhood dreams, Yurka will still study for 8 years in order to then earn less than everyone else. At the same time, Yurka’s enthusiasm is connected not only with knowledge of life. Comic effect: Yurka's mission is enlightenment and Yurka's consciousness is not fully developed. Yurka is a weirdo, he still lacks knowledge, he is no less ignorant than Evstigneevich himself. For the author, passion, impulse, enthusiasm are important, which is not enough here and now; it is important to see a bright future, albeit in dreams, a romantic, an idealist. But the central character, after all, is not Yurka; the movement of internal contradictions is revealed through Evstigneevich. There is a conversation about the nervous system. Everything is shown through actions, actions. The story of Academician Pavlov makes a strong impression on him. The old man, without saying a word, goes into the hallway with a knife. He brings a load of lard for Yurka to eat. After this, trusts are established, friendly relations. The finale is a psychological breakdown that occurs in Evstigneevich. Evstigneevich’s loneliness (understands this when Yurka talks about Pavlov).

Story« weirdo" This is the nickname of the main character of the story of the same name. The whole story is structured as a chain of micronovels; the hero is going to visit his brother in the Urals on vacation. For him, this is a whole great miracle-impression-adventure. All the friends gather to see him off. Before us is the story of the journey. The character trait of the hero is the ability to get involved in stories. Meeting my brother is the culmination. The episode with the stroller. The stroller is a sign for the heroine of a new, different, non-rural life. And the weirdo paints this stroller in the morning (an attribute of new life). The finale is just another episode. The hero returns home without having time to properly see his brother. In the final paragraph, we understand that the childish side dominates in his soul: although he is an adult, an accomplished person (a projectionist), he adored detectives and dogs (childishness). The important moment is the return itself - to the world of one’s native, close, beloved, he greets it kindly (mushroom rain, the sun peeks out), the hero responds to this state of the world, he is emotional, the state of mind adapts to the state of the world around him (walks barefoot through puddles).

Story « I believe!" A series of Shukshin's stories have verbal titles (4 stories in one collection). Expression, a dialogic element manifests itself at the level of the name. Highest degree emotionality. The situation is philosophical, existential. The main character is consumed by melancholy, he cannot explain why. IN Everyday life Everything is fine with him (home, work, family). Maxim is a little over 40 years old. He is a strong, wiry man with a wolfish look. He is a life-worn man with a tough, strong character. “Something” happens to him, an indefinite modality sounds, the hero feels that he is missing something. No traditional remedies help. The hero is trying to understand, figure out what he is missing in life. The situation in the story is connected with the hero’s meeting with a person who, according to Maxim, can help him figure it out.

A priest, a priest, comes to visit a neighbor. The priest had a pulmonary disease, he came to treat him with badger fat, and Maxim’s neighbor was just a hunter. Maxim finds out about the priest and immediately goes to talk. This is the priest's professional field of activity. The meeting between Maxim and the priest is central and determines the plot of the story. Shukshin creates a non-canonical image of a priest: on the one hand, the priest is a middle-aged, elderly, overweight man. Apparently, Maxim evaluates the hero and sees with his wolfish gaze that the priest is holding on tightly to life, fighting his illness, hoping to win. The vital, life principle is present in the hero. Then a conversation ensues between Maxim and the priest. What is the meaning of life is the question that worries them. The priest is an ordinary, rural one. The main discovery that Maxim makes: it turns out that the priest also does not know the truth, he openly declares this. Each of them does not have great wisdom, but they understand that they are faced with questions about the meaning of life that do not have a final answer.

The priest sets out his creed: God is and his name is life. As a result, the psychological culmination is a dance, a dance that has carnival features, an understanding that final answers (what is truth, life, the meaning of life, death, God) cannot be found to these questions. Pop and Maxim arrange a carnival dance, in which they begin to pronounce a non-canonical creed: they combine real empirical life experience in it. This is a moment of outburst of energy, the energy of dissatisfaction, each of them is dissatisfied with everyday existence, the heroes are searching for answers to life’s questions. Mental restlessness is melted into a dance, a symbol of faith, where everything is mixed (life, the spiritual world, and revolution). The priest has a borderline state - between life and death.

Story « Microscope" - another variety of the weirdo hero type. Here the hero is not trying to comprehend the metaphysics of the soul, he is trying to understand how the objective, real, physical world is structured around him. The very name “Microscope” speaks about this. The hero comes from the store and brings a microscope (the microscope is very expensive). The hero has a difficult relationship with his wife; his wife will not give him money. He decided to buy. One day he came home and said that he had lost money - 120 rubles. She beats him for his loss - moral and physical suffering (she is seriously trying to cripple him). He wants to come home from work after a while and say that he was thanked for his good work with a microscope. The wife grumbles and resigns herself to this useless prize.

The hero really wanted to understand what it was made of. the world, begins a series of scientific experiments, examines everything that surrounds him (water and others). The main character's name is Andrey, he read somewhere about how the world works. Microbes live parallel to us. Andrey was fired up with a passion for testing. Andrey does this act not at the expense of his family’s well-being; he works for a long time. It pays off this money quickly enough. But he makes this scene for his wife because he can’t wait. He has a son that he takes care of. But he can’t do anything about his passion. The closeness of the characters of him and his son, a sixth-grader who, together with his father, enthusiastically explores the world around him; they are similar in terms of the level of development of their worldview. The main thing is the very feeling of dissatisfaction and the desire to find out what is happening around. Swarming sticks, microbes, bacteria - Andrei makes completely wrong conclusions, the picture of his world turns out to be distorted. He, amazed by the huge number of bacteria around, decides to check whether they are in the blood (harmful creatures that destroy human life). He pricks his finger and is horrified to learn that he has germs in his blood, microorganisms in his blood. But how to deal with them? Andrey gave up. The picture of the world that emerges is that scientists know about these microbes and do nothing. It is important for Shukshin to emphasize dissatisfaction with his knowledge, condition and the desire to find out how more complex things are. As a result, Andrei resigns himself to the thought of the triumph of bacteria. Although with trepidation, but also with enthusiasm, she and her son continue their experiments. The wife finds out how the microscope came to be, and it ends up back on the store shelf. The hero is afraid, but cannot stop understanding the world. Then they remember how they explored life invisible to the ordinary eye.

Story « cut off" Gleb Kapustin (a thick-lipped man about 40 years old) is an unkind weirdo. Gleb Kapustin is one of the most famous people in his village, as he perfectly cuts people who come to visit the village. He enters into a discussion with them (on serious topics) and demonstrates their incompleteness, inconsistency, and the superiority of his intellect over the city residents.

Shukshin sneers at the stereotypes of rural literature, but at the same time passionately loves his land and the rural world. a) Once Gleb Kapustin cut off the colonel, Gleb puts on a whole show, he is happy, asserts his superiority over the colonel in military affairs (in the question of who set fire to Moscow), and not in ordinary chatter. b) The situation of preparing a pancake hero, preparing for battle. Gleb finds out that his rival has arrived, came home from work, washed, changed clothes, went out onto the porch with the men, lit a cigarette, talked a little about this and that, deliberately not about Zhuravlev. Guests and candidates came to visit Grandma Zhuravleva. Let's go see the candidate. Metaphor of combat - duel (fist fighter continues). This is a travesty metaphor.

Gleb finds out what field the candidate is in: he is engaged in tripology. A verbal duel begins, where the candidate is doomed. Gleb conducts a dialogue like an experienced demagogue, turning and transforming each answer based on his own logic. Gleb does not speak in simple speech: he asks not “Where do you work?”, but “In what area are you presenting yourself?” Gleb, despite his erudition, is an ignorant person. Does not distinguish between philosophy and philology. Gleb read something about the primacy of matter and spirit. Against this background, something is familiar to him. Gleb threw down the glove, the candidate picked up the glove. Gleb is not interested in the objective essence, truth, he has his own absurd logic that works every time. Gleb’s iron logic cannot be disputed. Gleb, sensing a weakness (where his opponent begins to get lost), drives his opponent into a corner (asks a question about the problem of shamanism in remote areas of the North). The candidates start laughing. Shamans as a fact exist, they sound like bells. But it is clear that Gleb is finishing off the candidate, showing that he is far from life, from the problems of ordinary residents of the Far North. The wife and the candidate come under attack. The candidate breaks down and begins to be rude to Gleb, but Gleb is cold-blooded. Gleb has a feeling of his own inferiority complex in front of the city residents - this is the internal psychological motivation for such “attacks” of his. The ending is interesting: Gleb comes out, his fellow villagers look at him admiringly. At the same time, an interesting author’s remark sounds: Gleb is respected, they come to listen, but no one in the village likes to love him. Every time they come to this performance with joy, but they don’t love it. Gleb is cruel, and they don’t like cruelty. They feel it intuitively; he really humiliates and tramples people. The main thing is that Gleb is cruel, offends and humiliates people. Does he think about his fellow villager, grandmother Agafya, whose son (candidate) he tramples into the mud? Agafya Zhuravleva was proud of her son, who went to the city, became a candidate, and some fellow villager, a village man, decides that he is smarter than her son. This situation could turn into grief, but Gleb doesn’t think about it. In general, Gleb is not very literate, not very educated, he has a mess in his head, although he can think, he has the ability to structure a conversation, and good intellectual inclinations. He is rude, boorish, ignorant. He chooses this way of self-existence.

*The variety of Shukshin’s heroes, they are similar, but they are all different in some way.

Story « Boots" The main character Sergei Dukhanin is a driver, between 30-40 years old. A pragmatic person whose life is fine, has a family, a job, and can earn money. The situation is quite ordinary, everyday. The hero comes to the city on a business trip, goes into a store, sees women's boots (imported Austrian good boots). This is an unusual object that does not fit into the usual things surrounding the hero, attracts him not only from a material point of view, but also makes an aesthetic impression on the hero (beautiful relationships, I admired the boots for a long time, then asked how much such pipettes cost - thin, narrow, graceful). He finds a linguistic image that symbolizes the image of this thing in his mind. But he does not give up on his idea, his idea - to give them to his wife. He admires them and wants to give his wife a bright, unexpected gift, completely inappropriate. He knows his wife's size, but they still need to be measured. But they are expensive, he wants to buy them, first of all, to surprise his wife. He gives in to impulse - this is where the hero’s eccentricity manifests itself.

He goes to a group of drivers and can’t help but boast about this purchase, and casually. The drivers were surprised that this gift was for his wife (and not for a friend-lover, for example). These boots are from another civilization, so his action is incomprehensible to other drivers. He brings this gift back from a regular flight to his wife. Of course, these boots are not suitable for my wife. Claudia still can’t pull on these beautiful boots. She lights up with joy when she sees this object from another culture. The more bitter, the stronger the disappointment is that she cannot walk in them, be proud. As a result, the hero wasted a lot of money. The story has a happy ending, because Claudia does not experience the joy of self-control, but is imbued with his impulse, that this gift expresses his love and gratitude for his wife (they lived together for many years). What a wife values ​​is not a gift, but the attention of her husband, who wants to please and amaze her. She is grateful to Sergei. The boots don't disappear, and it's no coincidence that the daughter appears. The return takes place to the heroes of twenty years ago, love does not go anywhere, it flares up with renewed vigor. The story ends with harmony.

Story « Shoemaker" Eccentricities manifest themselves in everyday situations, and not in the desire to change the world.

Story « My brother-in-law stole a car of firewood" The hero of the story “My son-in-law stole a car of firewood.” driven by everyday reasons - he needs a coat, but his wife spent money on a fur coat, the plot develops around him. Instinct of justice - the wife already has a fur coat, but he does not have a coat, the wife knows how much he needs a coat. Firstly, this is his dream, and secondly, he needs it to give him status. And the wife deliberately spends money. The hero tries to spit, wave his hand, he starts a quarrel - he tries to find an explanation for his wife, he wants her to apologize. His wife does not listen to him, brings his mother, and now the wife and her mother, together, put pressure on the hero. He has a feeling of double injustice. The mother-in-law threatens Vienna that she will put him in jail for hooliganism. [Common practice in Russia in the 50-60s]. The mother-in-law can really do this, because her husband is already in prison. Here comes a triple injustice. Then Venya locks his mother-in-law in the village toilet. The mother-in-law writes a police report against Venya. At the trial, Venya is portrayed as an inveterate repeat offender. He does not understand why the people sitting in court are so unfair to him. But only the influence of the public (an acquaintance of Venya’s father) helps him avoid prison. The morning after the trial is the denouement. In Vienna, the feeling of the absurdity of what is happening is growing stronger. Sense of human dignity, justice/injustice, rejection of quality, human right to respect.

Story « Resentment" The main character Sashka goes with his daughter to the store for milk. The saleswoman confused him with another man who had been rude to her earlier. Therefore, the saleswoman is rude to Sashka, kicks him out and insults him. The queue in the store supports the saleswoman. The hero leaves the store, but now he feels offended. He feels insulted. The hero commits one stupid act after another. The snowball principle - the feeling of injustice increases! The hero is left with a feeling of emptiness, of violated honor. The heroes of such stories cannot help but react when they are insulted. Tragicomic situations. All heroes are restless people.

Story « Alyosha unescorted" The story shows the option of gaining the possibility of a harmonious existence, taking into account their eccentricities: the heroes can find harmony with the world. The image of peace is very important for Shukshin. The main character is Kostya Valikov, a common person, a middle-aged man, distinguished by some eccentricities, loves the bathhouse.

However, each character in Shukshin’s portrayal had his own “zest,” resisted homogenization, demonstrated a special way of existence, or was obsessed with one or another unusual idea. Here’s how critic Igor Dedkov would later write about this: “Human diversity, the living richness of existence, is expressed for V. Shukshin, first of all, in the variety of ways to live, ways to feel, ways to defend one’s dignity and one’s rights. The uniqueness of the answer, the uniqueness of a person’s reaction to the call and challenge of circumstances seem to the writer to be the primary value of life, of course, with the amendment that this uniqueness is not immoral.”

Shukshin created a whole gallery of memorable characters, united in the fact that they all demonstrate different facets of the Russian national character. This character manifests itself in Shukshin most often in a situation of dramatic conflict with life circumstances. Shukshinsky’s hero, living in the village and busy with the usual, village-style monotonous work, cannot and does not want to disappear into rural life “without a trace.” He passionately wants to get away from everyday life, at least for a while, his soul longs for a holiday, and his restless mind seeks the “highest” truth. It is easy to notice that despite the external dissimilarity of Shukshin’s “eccentrics” from the “high” intellectual heroes of the Russian classics, they, Shukshin’s “villagers”, also do not want to limit their lives to the “home circle”, they are also tormented by the dream of a bright life, full of meaning . And therefore they are drawn beyond the borders of their native outskirts, their imagination is occupied with problems that are by no means of a regional scale (the hero of the story “Microscope” acquires an expensive item in the hope of finding a way to fight microbes; the character of the story “Stubborn” builds his own “perpetuum mobile”).

The collision characteristic of Shukshin’s stories - the clash of “urban” and “rural” - does not so much reveal social contradictions as reveal the conflicting relationship between dreams and reality in the life of a “little man”. The study of these relationships forms the content of many of the writer’s works.

The Russian man as depicted by Shukshin is a searching man who asks life unexpected, strange questions, who loves to be surprised and amaze. He does not like hierarchy - that conventional everyday “table of ranks”, according to which there are “famous” heroes and there are “humble” workers. Resisting this hierarchy, Shukshin’s hero can be touchingly naive, as in the story “Freak,” an incredible inventor, as in “Pardon me, madam!”, or an aggressive debater, as in the story “Cut.” Qualities such as obedience and humility are rarely present in Shukshin's characters. Rather, on the contrary: they are characterized by stubbornness, self-will, dislike of a bland existence, and resistance to distilled sanity. They cannot live without sticking their neck out.

The story “Chudik” (1967). Vasily Knyazev, nicknamed Chudik, does many wonderful things, starting with a 50-ruble note, which he puts on the counter with “witty” words (“You live well, citizens!”), because “ there is no owner,” and ending with his nephew’s painted stroller. I drew and thought; how pleasantly surprised the daughter-in-law will be, but it all ends in a scandal.

The story “Microscope” (1969). Another “eccentric” - Andrey Erin. Having withheld his salary from his wife and endured beatings, he buys a microscope. Examining a drop of water through a microscope, discovering teeming microbes in it, he rejoices like a child and dreams of ridding humanity of diseases. But the “dream” collapses due to a collision with everyday life: the wife goes to the city and sells the microscope, because “the children need to buy fur coats.”

“Cut” is one of Shukshin’s most vivid and profound stories. The central character of the story, Gleb Kapustin, has a “fiery passion” to “cut off”, “upset” people from the village who have achieved success in life in the city. From the background of Gleb’s clash with the “candidate”, it turns out that a colonel who came to the village on leave was recently defeated, unable to remember the name of the Governor General of Moscow in 1812. This time, Kapustin’s victim is a philologist, deceived by the outward absurdity of Gleb’s questions, unable to understand the meaning of what is happening. At first, Kapustin’s questions seem funny to the guest, but soon all the comedy disappears: for the candidate this is a real exam, and later the clash develops into a verbal duel. The words “laughed”, “grinned”, “laughed” are often found in the story. However, the laughter in the story has little in common with humor: it either expresses the city dweller’s condescension towards the “oddities” of his fellow countrymen living in the village, or becomes a manifestation of aggressiveness, revealing vindictiveness, the thirst for social revenge that controls Gleb’s mind.

The high impulses of Shukshin's heroes, alas, are not given the opportunity to be realized in life, and this gives the reproduced situations a tragicomic tone. However, neither anecdotal incidents nor the eccentric behavior of the characters prevent the writer from discerning the main thing in them - the people's thirst for justice, concern for human dignity, and craving for a meaningful life. Shukshinsky’s hero often does not know where to put himself, how and what to use his own spiritual “breadth” for, he suffers from his own uselessness and stupidity, he is ashamed when he causes inconvenience to his loved ones. But this is precisely what makes the characters’ characters alive and eliminates the distance between the reader and the character: Shukshin’s hero is unmistakably discerned as a “one of our own”, “ours” person.

Goals: to arouse interest in the work of V. Shukshin, his heroes, to reveal the originality of the writer’s stories, the development of students’ speech, and instilling respect for the common people.

Equipment: portraits of Shukshin, photo exhibition with views of the village of Srostki, relatives of V. M. Shukshin, exhibition of books, crossword puzzle on the work of Shukshin.

Vocabulary work:

Tale - 1) A type of folk poetic legend, narrative.

2) A literary work that combines the real and the fabulous, the fantastic, and the narration is told on behalf of the narrator.

Conscience is a sense of moral responsibility for one’s behavior before people around us and society.

Shame - 1) A feeling of strong embarrassment from the consciousness of the reprehensibility of an action.

2) Shame, dishonor.

Father-in-law is the wife's father.

Epigraph: I want to talk about these strange people, whose example teaches us how to live interestingly (V. M. Shukshin)

During the classes

Teacher's word:“There are people,” said Shukshin, in a city or village who seem strange to others. They are called "eccentrics". And they are not strange or eccentric. The only thing that distinguishes them from ordinary people is that they are talented and beautiful. They are beautiful because their destinies are merged with the fate of the people; they do not live separately. They are loved with special love for their responsiveness in joy and trouble. They decorate life, because with their appearance, wherever they are, boredom is banished...

The epigraph of the lesson is read.

Shukshin’s heroes are not invented, taken from real life, and about any of them you can really say: this one is only “moral”, and the other is “immoral”. In them, as in every person, “a mixture of 2 different things: good and bad almost unmistakably gives its love and sympathy for some heroes (precisely those that are dear to the author) and does not accept the position of others (no doubt, those whose prototypes were unbearable for Shukshin in life)
Group report on the stories read (each group is given questions and works to read in advance)

While listening to the reports of other groups, answer the questions written on the board:

What is the overall impression of the stories? Which one did you find more interesting? Why?

What is especially close and understandable to you about the people, situations, and conflicts depicted? What remains unclear?

What truth did Vasily Makarovich Shukshin want to tell about life?

Questions and works for 3 groups:

1) Story "Master"

The portrait of Semka Lynx is unsightly. But after reading the story, we give all our sympathies to this person. How did Semka Lynx touch us, what qualities did he tie us to himself?

Why did Semka decide to restore the church?

Why didn’t anyone agree to help Semka?

Why did Shukshin need an episode with the writer?

Igor Aleksandrovich tells Semka that he, too, was deceived, just like him. Was Semka deceived? If yes, then why?

Why did Semka stop going to the Talitsky church?

What current was Semka “raking” against? Why is he “carried out” to the stall again?

What literary genre does the beginning of the story resemble?

2) Story “Wolves”

What impression do the characters in the story make on you at the very beginning? Why do you think Ivan and his father-in-law dislike each other?

How are the characters' characters revealed when meeting wolves?

How do we see Ivan in the first and second parts of the story? How does his behavior change?

When and why does Ivan Degtyarev fail?

What actions of Nahum do you consider the most vile?

What is the meaning of the words “conscience” and “shame” in the story?

Is Ivan Degtyarev a brave man?

Why is the story called "Wolves"?

Imagine that you are going to make a film based on a story. break the story into parts - episodes. Which one is the most interesting for you?

3) Story “Resentment”

What is the essence of the incident in the store? Was there any reason to be offended? What do the saleswoman Rosa, the head of the department, and the customers look like?

Why did Sashka want to talk to the man in the raincoat? Do you share his position?

What is Sashka's nature? What kind of person is he?

Why is a child included in the story? What role does the girl’s remarks that her aunts and uncles are bad play in the text?

What artistic details of the story reveal the moral atmosphere of society: habitual rudeness, disrespect for a person, gratitude, bitterness, desire to stigmatize?

What is the meaning of the introductory part of the story about grievances, prudence, wooden dreams, and despair? Doesn't it cover up the writer's attitude towards the type of behavior depicted in Sashka's story?

What is interesting about the writer Sasha Ermolaev? In what words of his is hidden self-characteristics that recreate the type of thinking and structure of feelings?

At the center of most of Shukshin’s stories are original characters who carry vivid signs of life and the era that formed them. The character is depicted against the backdrop of recognizable features of ordinary life. This everyday life, drawn clearly and accurately, convinces the reader of its significance and reveals its moral implications. This is the situation and characters in the story “The Resentment.”

The writer, identifying certain socio-psychological signs and qualities of characters, insightfully recognizes the important and hidden in ordinary life, for example, the story “The Master”.

Shukshinsky's story is organized by the situation. The story often begins without any introductory remarks. The author immediately introduces us to the situation.

On the pages of many of Shukshin’s stories we meet “eccentrics”. Heroes with unconventional perceptions and unusual actions. This gives rise to non-standard situations that differ sharply from the generally accepted ones. More often than not, the actions and actions of the heroes, their chosen lifestyle, are guided by the desire for happiness, justice, and spiritual search.

The language of Shukshin's characters is replete with colloquial expressions. But the peculiarity of Shukshin’s stories is that the author’s speech is closely intertwined with the speech of the characters and the author’s language is also colloquial, folk. There are few descriptions in them. Shukshin is very laconic, attentive to children, who help show a person’s character in a few words.

Crossword puzzle on the works of V.M. Shukshin. (given in the previous lesson)

Lesson summary. Assessing student work.

Crossword “For Shukshin Connoisseurs”

Horizontally: 2. Object of inspiration of the artist Smorodin. (Story “Pedestal”). 6. V.M. loved her, appreciated her, fought for her, and followed her in his work. Shukshin. 8. Valuable ornamental material, from which Petya preferred cufflinks for going out on a visit from Shukshin’s story of the same name. 9. In the film “Stoves and Shops” there is an episode of a quarrel in a compartment, where Ivan Rastorguev, in response to the impudence and self-confidence of the business traveler, responds with sophisticated rudeness: “P... in his pants! And in a hat! And in a raincoat! 11. Educational institution in which V.M. Shukshin received an acting education. 12. An agricultural machine that Shukshin had a chance to work on as a teenager (series of stories “From the childhood years of Ivan Popov”). 13. Kuzma Rodionov saved the baby from her during haymaking (the novel “The Lyubavins”). 18. A scandalous person like Sergei Ivanovich Kudryashov from the story “Psycho-path.” 19. The name of one of the Lyubavin brothers. 20. A member of a religious sect, to which his nephew inadvertently included the insulted Uncle Grisha (the story “Gena Pass the Light”). 21. The surname of the main character of the story “Zero-zero integer.” 24. In the story “Operation... Drunk.” He suffers not so much from pain as from shame. 25. Shukshin was born here and was proud of it. 26. The name of the girl who “emptied” Vitka Borzenkov’s pockets (story “A Mother’s Heart”). 30. “Masha the Birdwoman,” who showed the villagers a fashionable dress with an apron by profession (film “There Lives Such a Guy”). 31. The name of the collective farm, impressive in size, in which the foreman Shurygin destroyed the church (the story “A Strong Man”). 32. A method of manifestation of the comic, which V.M. often resorted to in his work. Shukshin. 33. Shukshin's story.

Vertically: 1. The hero of the story “I Believe!” 3. Village in Gorny Altai (story “Red”). 4. Native village of Shukshina. 5. Translated from Greek, this “pretense” is akin to sarcasm. It comes through in the writer’s stories. 7. One of the prominent filmmakers, from whose experience Shukshin learned directing. 8. The resort town where episodes of the movie “Stoves and Benches” were filmed. 9. Methodological approach to the analysis of direct interaction between people. Characteristic of Shukshin's work. 10. Poet-tessa, who played the role of a journalist in the film “There Lives Such a Guy.” 14. Story by V.M. Shukshina. 15. In the film “Kalina Krasnaya” the old Baikalovs often switched to it in their dialogues. 16. One of Shukshin’s stories. 17. An item of clothing often mentioned in the story “Mitka Ermakov.” 22. In convulsive fits and squeals, she predicted trouble, defeat (the novel “I came to give you freedom”). 23. In the common parlance of Shukshin’s heroes, the beloved girl, beloved. 24. Favorite poet Shukshina. 27. Literary magazine in which the story “In Autumn” was first published. 28. This is not only a burden in the villager’s tub, but also a manifestation of lordly violence. 29. The destroyer on which Vasily Shukshin served also moored to it.

Evgenia Gorashchenko, 10th grade student

The purpose of this work- explore V.M. Shukshin’s use of artistic detail in prose.

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Performance

Slide 1, 2

The purpose of my work“Artistic Detail in Shukshin’s Prose” explores the use of artistic detail, and this drew my attention to his work, which has not yet been fully explored. This is the relevance of my work.

What artistic details does the author use? Is there a relationship between them? How significant are color details, portraits, landscapes in Shukshin’s prose? - these are the main questions that I want to answer in my work, while implementingthe following tasks:

Slide 3

1. explore Shukshin’s stories, draw a general conclusion about the functioning of artistic detail in them;
2. present the results in the form of an abstract and multimedia presentation.

While working on the essay, I studied individual fragments of articles devoted to the writer’s work.

When working on the practical part, I used the text of the stories and the story “Kalina Krasnaya” and various critical articles as supporting material.

Basic methods of working on an abstract:analysis of episodes, comparison of adjectives denoting color.

Slide 4

Object of study

Subject of study- artistic detail.

Artistic detail has an important place among the means of expressiveness that Shukshin resorts to. A detail is a detail, a specific detail or feature of an object that is necessary and works for the general idea.
There is nothing accidental in Shukshin's works. He brought the genre of the story to perfection; it was necessary to convey a large amount of information, and the artistic detail helps to reduce the volume.

Slide 5

One of the means of characterization is a portrait. Rarely found in the writer's works detailed description character's appearance. Often the appearance of a hero is characterized by two or three phrases.

For example, in the story “The Master”, sparse and expressive portrait details help to introduce Semka: “Long, thin, big-nosed - he’s not at all a hero in appearance. But then Semka takes off his shirt, remains in only a T-shirt, faded in the sun... And then, when he, playing with a hatchet, cheerfully barks with the foreman, then all the terrifying strength and power of Semka is visible. She is in her hands. Semka’s arms are not lumpy or lumpy, they are even from shoulder to paw, as if cast. Beautiful hands. The hatchet in them is like a toy.”

Slide 6

Shukshin's landscape is not rich in descriptions of nature, but it is very important for revealing the image of the hero. For example, in the story “Crank” the ending is interesting: “Crank came home when it was raining in a steamy rain. The weirdo got off the bus, took off his new shoes, and ran along the warm wet ground - a suitcase in one hand, boots in the other. Jumped up and sang loudly:
Poplars, poplars... At one end the sky had already cleared, turned blue, and the sun was somewhere nearby. And the rain thinned out, splashing in large drops into the puddles; bubbles swelled and burst in them.”

Slide 7

I would like to pay special attention to the use of color.

In Russian, the color of an object can be expressed using adjectives used in a figurative meaning: like etc.

This is confirmed by the adjective gold in the story by V. Shukshin:“The firewood burned out... The mountain, golden , hot, I was breathing, the heat was pouring out».

Slide 8

white in the stories of V. Shukshin. For example, in the story “Wolves” we read: “The next moment, all five were tearing the meat of the still jerking horse, pulling it apart in a dazzling white in the snow, smoking balls of bluish-red intestines purred, the leader looked directly at the man twice with his yellow round eyes.”

white And reached with a dirty paw into snow-white , tender... inside the boot.”

Slide 9

The word white Loved the taiga. Especially in winter. The silence is such that it’s a little oppressive. But loneliness does not oppress, it is done freely; Nikitich, squinting, looked around - he knew that he was the sole owner of this large white kingdom." The phrase white kingdom conveys the meaning of the phenomenon - taiga

Slide 10

Adjective white -enk- . For example, in the story “Microscope”. Andrey Erin examines microbes using a microscope: “I'm glazed! He will find any penny in his pocket, but here he cannot see any microbes. They almost jump into your eye, you fool! Such little white ones...” little white microbes: “And there were teeming with these little white ones.” This is one of the ways to attract attention to"white"

So the adjectivewhite serves a specific purpose.

Slide 11

How color is used in the story “Kalina Krasnaya” can be seen from the diagram. The most common colors are birch and the color of spring, as well as ruddy and green; the red color detail is also significant.

Slide 12

In order to understand Yegor’s character, his soul, Shukshin shows the hero’s perception of spring nature. The fact that he served time did not impoverish his inner world, did not spoil his ability to be amazed at the beautiful, to feel involved in the beauty of the world around him. He admires everything around him: “»

Slide 13

And the image of a birch tree is also very significant. This is a bright, beautiful image. This is how Shukshin writes about the birch forestPurity, glow - this is what the author emphasizes in this image.

Slide 14

The title of the story “Kalina Krasnaya” also has a certain meaning; it is decisive for the entire story.

Although this image appears only once in the song:

Red viburnum,

The viburnum has ripened

I'm at the hangout

I found out the character...

It seems to me that the author identifies Yegor and this viburnum, which has ripened... That’s it, Yegor’s life has ripened. Egor's soul is drawn to white, but this is after death, and during life - red... Color details help to understand the complexity of Egor's worldview.

Viburnum red is a tree filled with red color. Red is the color of sadness...And the ending of this story is also sad.

Thus, V. M. Shukshin’s use of artistic details, including such as color, added color to his works, coloring a particular situation in the desired color.

Slide 15

While working on the topic of the essay, I made an attempt to explore the work of Vasily Makarovich Shukshin, for this I read critical articles and came to the conclusion that artistic detail is multi-valued, it creates the emotional background of the work, helps the author characterize the characters, and push the reader to evaluate the characters. Shukshin shows ordinary life, and with the help of details indicates the hidden meaning of what is depicted.

Based on the analyzed works, I realized that artistic detail is very important for revealing the image of the hero.

Preview:

Municipal educational institution

Dolgan secondary school

Altai Territory, Krutikhinsky District

Materials for the competition

"The Future of Altai"

Essay

“Artistic detail in the prose of V.M. Shukshin”

Work completed:Gorashchenko Evgenia

10th grade student

Supervisor: Ushakova Olga Alexandrovna

Teacher of Russian language and literature

1. Introduction……………………………………………………………3-4pp.
2. The skill of Shukshin the prose writer……………………..5-8pp.
3. Artistic detail in Shukshin’s prose………..9-20pp.
4. Conclusion………………………………………….21p.
5. References…………………………………………22pp.

If Vasily Shukshin were only an actor,

only a director, only a screenwriter and playwright and,

finally, only in prose, then, in this every

and in a separate case, we had before us

outstanding talent.

S.P.Zalygin

1. Introduction

Studying the work of V. Shukshin is a difficult task. The art of V. Shukshin - writer, actor, film playwright - constantly gives rise to controversy and scientific discussions, which are far from over. The wide interest of readers and viewers in the work of V. Shukshin does not wane these days, as evidenced by the publication of books, articles, and collected works of the writer.

There are disagreements in understanding the nature of V. Shukshin’s talent and the associated principles of analysis and evaluation criteria. But true art always resists schemes, straightforwardness of judgment, and ignorance of its originality. The work of V. Shukshin resisted any attempts to destroy its integrity and multi-genre unity.

I am very interested in the work of this writer, since it is distinguished by its simplicity, the heroes of the stories are taken from life, and this attracted my attention to his work, which has not yet been fully explored.

The purpose of this work- explore V.M. Shukshin’s use of artistic detail in prose. I do not pretend to be a complete study of the text, but I will try to summarize my observations using different sources.

Relevance explainedundying interest in the prose of the 20th century writer. The name Shukshin firmly took its place among artists who turned to the study of the soul of the Russian people, its depth and originality.

The novelty lies in the attempt to consider the works from the point of view of artistic detail.

What artistic details does the author use to create images of the characters? Is there a relationship between them? How significant is an artistic detail, such as color, portrait, landscape in Shukshin’s prose? - these are the main questions that I want to answer in my work, while implementingthe following tasks:

1. collect critical reviews about the personality, life and work of Shukshin, systematize and summarize the data;
2. select the opinions of critics regarding my stated topic;
3. textually examine Shukshin's stories from different periods, draw a general conclusion about the functioning of artistic detail in them;
4. present the research results in the form of an abstract and multimedia presentation.

In the course of working on the abstract, I studied individual fragments of articles, publications in the press dedicated to the work of this writer, in order to obtain the most complete understanding of what and how Shukshin wrote.

When working on the theoretical part, I used as reference material the text of the stories “Wolves”, “Freak”, “The Hunt to Live”, “Master”, “Microscope” and the story “Kalina Krasnaya” by Shukshin, as well as various critical articles.

Basic methods work on the abstract: analysis of episodes, comparison

Object of study– text as a fragment of artistic creativity.

Subject of study- artistic detail.

Practical valueis determined by the possibility of using this material to analyze other works by Shukshin.

2. The skill of Shukshin the prose writer

Vasily Makarovich Shukshin is perhaps the most Russian of all our modern authors. His books, in the writer’s own words, became the “history of the soul” of the Russian person. Shukshin reveals and explores in his heroes the qualities inherent in the Russian people: honesty, kindness, conscientiousness. The uniqueness of a writer lies in his special way of thinking and perceiving the world.

The main genre in which Shukshin worked was short story, which is either a small psychological accurate scene built on expressive dialogue, or several episodes from the life of the hero. But, taken together, his stories combine into a smart and truthful, sometimes funny, but more often deeply dramatic novel about the Russian peasant, about Russia, the Russian national character.

Among the Russians modern writers, masters of storytelling, Shukshin is given a place of honor. His work is a bright and original phenomenon.

With all the diversity genre forms Shukshin - there is something that unites them - a favorite moral problematic and a creative manner inherent only to this author, that creative handwriting by which you recognize every page of it.

Vasily Shukshin's prose is a unique phenomenon, with its own characteristics. The writer thinks out, develops, and further imagines the characters seen in life. Shukshin peers into his character and examines him thoroughly like an artist, revealing his spiritual versatility.

In his stories, life appears in its multidimensionality, inexhaustibility, and amazing diversity. The intonation of his works is fluid and rich in shades. Shukshin creates a unique human character on several pages and through him shows some layer of life, some side of existence.

His form carries conciseness, economy of means of expression and extraordinary richness. Shukshin turns to an ordinary, seemingly insignificant fact, but reveals the drama of life in such a way that it enriches the reader with a deeper understanding of it. His stories are fast-paced, free of extraneous description, generally devoid of exposition, and characters are quickly introduced into the action.

Artistic detail has an important place among the means of expressiveness that Shukshin resorts to.

Shukshin rarely narrates in the first person. The objective form of third-person narration attracted him because it allowed him to resort to a variety of techniques and use diversity artistic means. You will never find in Shukshin’s stories even the most amusing, but self-sufficient detail. The details of the narrative are sparse, but effective and plot-driven.

We never come across Shukshin’s predetermined construction; each story exudes vitality and emotional spontaneity. The plot situations in which the characters are shown, the severity and relevance of the problems - all this captivates and excites the reader.

It is not “mood stories” that attract Shukshin. He strives to create a bright, original character, a historical character, that is, bearing the imprint of time. In Shukshin's works, the figure of the narrator is important. He himself and those he talks about are people of common experience, a common biography and a common language. Therefore, the author’s pathos and the tonality of his attitude towards the depicted are far from both sentimental sympathy and outright admiration. The author does not idealize his heroes just because they are “our own”, villagers. The attitude towards what is depicted in Shukshin’s stories is manifested in Chekhovian restraint. None of the characters have full possession of the truth, and the author does not seek to morally judge them. Another thing is more important to him - to identify the reasons for one person’s failure to recognize another, the reasons for mutual misunderstanding between people.

In form, Shukshin's stories are scenographic: as a rule, it is a small scene, an episode from life, but one in which the ordinary is combined with the eccentric, and in which the fate of a person is revealed. The constant plot situation is the situation of a meeting (real or failed). There is no external plan in the unfolding plot: stories often gravitate towards the form of a fragment - without a beginning, without an end, with unfinished structures. The writer has repeatedly spoken about his dislike for closed plots. The composition of the plot is subject to the logic of a conversation or oral narration, and therefore allows for unexpected deviations and “extra” clarifications and details.

Shukshin's heroes are rural residents. The most important basis for depicting characters was everyday life. An interesting detail: Shukshin’s heroes are almost not shown in the work. The author believes that the everyday sphere of life contributes to a deeper revelation of a person’s character. This means that Shukshin writes his story not for the sake of telling a funny anecdote or interesting story. The main thing for him is the character of the hero, which is revealed to the reader through this episode. The story is based on an incident that, perhaps, seems to go beyond the scope of everyday life: the destruction of a church, an attack by wolves - and the most ordinary - offended a man in a store, or a husband decided to give his wife boots, or a man went to visit his brother in another city , but didn’t get along with his wife... It’s important that human character emerges in this episode. He has no unnecessary words at all, everything is imbued with an idea.

Shukshin rarely gives any detailed landscape descriptions and portrait characteristics of the characters, but they correspond to the mental state of the characters and are always extremely brief.

The boundary between the “author’s word” and the “hero’s word” is in most cases blurred or completely absent. The bright side of Shukshin's individual style is the richness of lively colloquial speech with its various individual and social shades.

Dialogues in Shukshin's stories often turn into a kind of intellectual duel (despite the fact that his heroes are by no means intellectuals). It is important for heroes to establish themselves in the world, and they often do this in an argument.

The language of Shukshin's heroes is replete with colloquial expressions. The characters speak the way ordinary village people speak in real life. But the peculiarity of Shukshin’s stories is that the author’s speech is closely intertwined with the speech of the characters (for example, in the sentence “Shurygin wanted to call the stupid saleswoman something else...”, written on behalf of the author, Shurygin’s voice, of course, sounds - specifically for him the saleswoman is a “fool”, not for Shukshin), and the author’s language is also colloquial, folk, only he manages to “express himself” more clearly than the characters. This fusion of the author's speech and the speech of the characters is characteristic of skaz. In Shukshin, the author is also often hidden behind the hero. But an attentive reader will definitely notice his presence, his attitude towards his characters.

3. Artistic detail in Shukshin’s prose

In order to analyze the use of artistic detail in Shukshin’s prose, it is necessary to know what role the artistic detail plays in the text. To do this, I became acquainted with M. Weber’s article “Artistic Detail.”

A detail is usually understood as a subject-level detail: some specific material detail or some specific property, feature of an object.
The first aspect of the detail is an appeal to the senses, which enriches the visual range of the text.
1. Color. In everyday life, a person gets by with naming two or three dozen colors. Artists already use two (on average) hundreds of colors and shades. But the diversity of nature is endless.
In mastering color, literature initially made do with a few basic colors: the sky could be blue, light blue, azure, gray, black; dawn - scarlet or golden. In the 19th century, with the heyday of realism, literature strives for precise verisimilitude, and so among landscape masters the dawn becomes wine-purple, lemon, silver-green; it turns out that the sky can be of almost any color, the shadows turn out to be not only gray and black, but also lilac, blue, and brown.

All arts are interconnected, and literature follows painting: “copper skies”, “brass bar of dawn”, “red fog”, “blue crown, crimson trunk”, etc. appeared.
Color in modern literature is conventional and harsh. “Green sky”, “black water”, “red eyes”. The author strives for visual expressiveness, anything can be of any color: the face is “brown”, “gray”, “blue”, “green”; ice hole – “purple”, “blue”, puddle – “orange”, “silver”. The color detail makes what is being described not only visible, but also catchy, somewhat unexpected and unusual, and therefore affecting the imagination.
2. smell. If the color is usually “some kind,” then the smell is usually “something”: pine needles, soap, gasoline, paint, roses, earth, etc. Almost any object has its own smell, a person distinguishes smells, as is known, rather weakly, and from a variety of smells the writer selects (names) one or two, rarely three, and very rarely four or more. Two characteristic smells are usually enough to convey the olfactory range, and these smells are often not genuine, but invented according to the principle of “what should it smell like so that the reader will inhale the described environment.” Smell in prose is the calling card of an object that characteristically complements the setting

3. Taste. Taste sensations are constantly applied to odors: the smell can be bitter, salty, tart, sour, sweet, satisfying, etc. - full range of tastes.
4. Sound. More information comes through hearing.

5. Touch. The sense of touch is more often used alongside the visual: “smooth road”, “rough water”, “cold gaze”.

The second aspect of the detail is the description.
1. Portrait. In fiction, the portrait is laconic. In a modern portrait, a detail usually plays the role of a kind of peg to which the reader’s imagination is attached, drawing in the missing features (for it is impossible to list everything, and there is no need to do so - a pile of details will only interfere with the perception of the whole image).

2. Landscape. In a story where brevity is always good, the description of the landscape should also be brief - first of all, the spatial and color image. That is, to create a landscape, two to four details are enough, providing anchor points for the reader, who will associatively imagine the rest.

3. Interior. Not much different from the landscape: these are a few characteristic details.

4. Gesture. Conveying a person’s posture, facial expressions, and movements is one of the most difficult tasks in prose.

Among the other aspects in which the detail is considered, the following stands out:
1. Credibility.

2. Symbolism.