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The theme of education in the works of Russian literature of the 19th century

Introduction

The mastery of literary classics by students is an indispensable condition for the preservation of the unity of the national culture. The formation of a morally active personality is the main task of teaching and upbringing in literature lessons.

Russian society in this period is experiencing a deep moral crisis: a person departs from the awareness of the spiritual foundations of life, loses the foundations of his own being. Modern man is more and more focused on material success, external achievements. The realities of modern Russian society are market relations, an orientation towards instrumental values, the Americanization of life, the destruction of national identity, the foundations of the people's existence. A truly active person knows how freely, i.e. consciously choose the line of their behavior. Therefore, the main task of education and upbringing should be considered the upbringing of such a person who is capable of self-determination in the modern world. This means that students need to cultivate such qualities as a high level of self-awareness, self-esteem, self-esteem, independence, independence of judgment, the ability to navigate in the world of spiritual values ​​and in situations of life around them, the ability to make decisions and be responsible for their actions and to make a choice of the content of their life, lines of behavior, ways of their development. All these qualities became the basis of the works of the classics of Russian literature of the 19th century.

This work is devoted to the topic of education in the works of Russian literature of the 19th century, the work examines the main aspects of the content of education in literature lessons, analyzes the topic of education in the works of Pushkin A.S., Lermontov M.Yu., Fonvizin D.I., Ostrovsky A.N. ... and other outstanding masters of the word of the 19th century.

1. The basics of moral education in literature lessons

The period of adolescence is a period of rapid "infection" with new ideas, a period of changing feelings, moods, thoughts, hobbies, belief in one's ideals and in one's own strengths, interest in one's own personality, problems of the time, searching for an ideal, a goal in life, and dissatisfaction with oneself. All this serves as a powerful engine for moral development.

The development of autonomous morality, associated with a critical understanding of the norms of public morality, the explanation of moral collisions, the search and assertion of one's own moral principles, is especially stimulated by the creative acts of moral choice T.I. Goncharenko. Aesthetic education of students in a literary and creative society. - M .: Gardariki, 2003, p. 67. Therefore, the modeling and application of moral choice situations in teaching and upbringing turns out to be a necessary condition for the moral activity of schoolchildren.

A moral choice situation is one that involves contradictions between two mutually exclusive decisions or actions.

A person in such situations must make an alternative decision about his attitude to moral or immoral facts and about his behavior (“What should I do?”).

Making an alternative decision means choosing between good and evil, sympathy or indifference, courage and cowardice, honesty and deceit, loyalty and betrayal, altruism and selfishness, etc. Choosing the right moral decision means doing an act.

To effectively use situations of moral choice in the upbringing and development of schoolchildren, you need to know the types of moral and ethical problems raised in them. Moral and ethical problems can be aimed at the knowledge of broad worldview and ethical phenomena, concepts (man and nature, man and society, art and life, beauty and goodness, the meaning of life, etc.), at the knowledge of the relationships and behavior of people, their own moral qualities.

Morality is a system of internal rules of a person, based on humanistic values ​​that determine his behavior and attitude towards himself and other people.

Morality is a fundamental quality of a person, his positive principle, which grows out of a feeling of love for people, regardless of their nationality, and an understanding of freedom as a personal responsibility.

The criterion of morality is the ability of a person in a difficult life situation to make a choice in favor of creation, not destruction.

The formation of morality occurs in the process of personal self-awareness and familiarization with the spirituality of society.

Problems may be associated with the choice of behavior and the adoption of a moral decision, with the assessment and self-assessment of the moral merits of the individual, with the adoption of a decision in a specific situation, may require an explanation of a moral phenomenon.

The ability to see, realize and analyze moral and ethical contradictions around oneself and in oneself is the most important component of the development of ethical culture and moral self-awareness of a student.

Moral examples and situations must be taken from works of fiction. The formation of morality by means of fiction in new socio-cultural conditions is a controlled process and depends on the work of the teacher in the selection of literary education in the light of cultural, national and universal values ​​Aksenova E.M. Education of feelings with artistic words. A guide for the teacher. - M .: AST, 2002, p. 121. Therefore, it is necessary to update the content of literary education and include, for study, works with acute moral themes, raising important philosophical and moral problems, and eternal questions. It is these issues that are so important for the moral education and development of schoolchildren that are highlighted by the authors of works of literature of the 19th century.

The main task of the teacher in literature lessons is to achieve an informal solution to moral problems, the implementation of a moral choice, taking into account the whole variety of conditions accompanying the situation, bringing more complex moral problems and more complex moral and ethical situations for discussion and analysis.

Fiction, appealing not only to the mind, but also to the feelings of the young reader, develops and spiritually enriches the emerging personality. The enormous educational material that literature lessons carry is obvious. Awakening the feelings and living of the reader - the student, they improve the culture of perception of fiction in general. The task of the language specialist is to teach children to empathize, to reflect on the work, to understand the beauty of the word Meshcheryakov N.Ya., Grishina L.Ya. Formation of the ideological and moral position of adolescents by means of literature // Improving the teaching of literature at school. - M .: Education, 1986, p. 78.

In the school analysis of a literary work, the very process of communication with art is important. In the course of it, the teacher helps children to see what passed unnoticed at the first reading, gradually reveals various layers of the literary text, leads the students to comprehend the meaning of the work. This forms the student as a reader, makes him emotionally more empathetic.

The art of upbringing is, first of all, the art of speaking, addressing the heart of a child. Spiritual values ​​should be cultivated. Based on each specific topic of the lesson, it is necessary to determine what educational skills you will develop, what moral qualities this lesson will help to bring up in students. The educational role of the lesson is more important than just the presentation of the teaching material.

moral teaching literature education

2. The theme of education in the works of Russian literature of the 19th century

2.1 Characteristics of 19th century literature

At the beginning of the XIX century. there is a sentimental direction. Its most prominent representatives: Karamzin ("Letters of a Russian Traveler", "Tale"), Dmitriev and Ozerov. The emerging struggle between the new literary style (Karamzin) and the old (Shishkov) ends in a victory for the innovators. The romantic trend is replacing sentimentalism (Zhukovsky is the translator of Schiller, Uhland, Seidlitz and English poets). The national origin finds expression in Krylov's fables. The father of the new Russian literature was Pushkin, who, in all kinds of literature: lyrics, drama, epic poetry and prose, created samples that in beauty and graceful simplicity of form and sincerity of feeling are not inferior to the greatest works of world literature Bazanov A.E. Russian literature of the 19th century. - M .: Law and Law, 2001, p. 83. Simultaneously with him acts A. Griboyedov, who gave in com. "Woe from Wit" is a broad satirical picture of mores. N. Gogol, developing the real direction of Pushkin, depicts with high artistry and humor the dark sides of Russian life. Pushkin's successor in graceful poetry is Lermontov.

Beginning with Pushkin and Gogol, literature has become an organ of social consciousness. The appearance in Russia of the ideas of the German philosophers Hegel, Schelling and others (the circle of Stankevich, Granovsky, Belinsky, etc.) dates back to the 1830s and 40s. On the basis of these ideas, two main currents of Russian social thought emerged: Slavophilism and Westernism. Under the influence of the Slavophils, an interest arose in native antiquity, folk customs, folk art (the works of S. Soloviev, Kavelin, Buslaev, Afanasyev, Sreznevsky, Zabelin, Kostomarov, Dal, Pypin, etc.). At the same time, political and social theories of the West are penetrating literature (Herzen).

Since the 1850s, the novel and the story, which reflect the life of Russian society and all the phases of the development of his thought (works: Turgenev, Goncharov, Pisemsky; L. Tolstoy, Dostoevsky, Pomyalovsky, Grigorovich, Boborykin, Leskov, Albov, Barantsevich, Nemirovich-Danchenko, Mamin, Melshin, Novodvorsky, Salov, Garshin, Korolenko, Chekhov, Garin, Gorky, L. Andreev, Kuprin, Veresaev, Chirikov, etc.). Shchedrin-Saltykov in his satirical essays castigated the reactionary and selfish tendencies that arose in Russian society and hindered the implementation of the reforms of the 1860s. Narodnik writers: Reshetnikov, Levitov, Ch. Uspensky, Zlatovratsky, Ertel, Naumov.

The historical stage of the emergence of the realistic method and the direction corresponding to it. The 19th century embraced all the best that was in romanticism that arose at the turn of the 18-19th centuries: the idea of ​​free development of the personality, the creative transformation of the genre and style originality of literature. The 19th century gave different national versions of a truly social novel, where a person appeared in a deep internal connection with social circumstances and obeyed them, although for many artists the literary character also appeared as a fighter against these circumstances Pedchak A.N. Russian literature of the late 18th early 19th century. - M .: Phoenix, 2003, p. 29. Like no other century, the 19th century was distinguished by an extraordinary variety of genre, thematic forms of literature, and in such a field as versification, it gave an infinite number of rhythmic and stanzaic modifications in every national literary language. At the beginning of the 19th century, JV Goethe formulated the principle of "world literature". This did not mean the loss of the national specificity of the literatures, but only testified to the processes of integration in the verbal art of the world. The second half of the 19th century was called the "Russian period" in world literature.

2.2 Moral, artistic and aesthetic education on the examples of literary works of the classics of the 19th century

To comprehend philosophical problems, actively apply their knowledge, their life experience, using their convictions, pose problems, analyze various moral and ethical conflicts, complex problems of human relations, make independent decisions, develop cognitive independence and creativity, students learn from the works of such famous authors 19 centuries as Pushkin A.S., Lermontov M.Yu., Fonvizin D.I., Ostrovsky A.N., Goncharov. By analyzing the works of the authors, it is possible to explain such concepts as conflict, morality, patriotism, devotion, betrayal. In the works of the listed masters of the word of the 19th century, the theme of education runs as an invisible thread.

For example, the work of A.S. Pushkin's "Eugene Onegin" can rightfully be considered an encyclopedia of education of modern life. This is an eternal work that combines all the main traditions of the Russian people. The novel in verse "Eugene Onegin" poses many problems. One of them is the problem of happiness and duty. This problem is most vividly highlighted in the final explanation of Eugene Onegin with Tatyana Larina. For the first time, Onegin thinks that his worldview is wrong, that it will not give him peace and what he ultimately wants. “I thought: freedom and peace are a substitute for happiness,” Onegin admits to Tatiana, beginning to realize that true happiness lies in the desire to find a kindred spirit.

He realizes that all his foundations have been shaken. The author gives us hope for the moral revival of Onegin. Tatyana's main merit is her spiritual nobility, her truly Russian character. Tatiana has a high sense of duty and dignity. Because Tatiana puts a debt to her husband above her own happiness, she is afraid to disgrace him, to hurt him. That is why she found the strength to suppress her feelings and say to Onegin:

I love you (why dissemble?)

But I am given to another;

And I will be faithful to him forever

The theme of education in this work is expressed by fostering a sense of duty and responsibility. Honor and the meaning of life are the main educational problems highlighted in the novel. Tatiana was forced to fight for her dignity, showing in this struggle her uncompromising attitude and her inherent moral strength; this was precisely what Tatiana's moral values ​​were. Tatiana is a heroine of conscience. Tatiana appears in the novel as a symbol of loyalty, kindness, love. It has long been known that happiness for women lies in love, in caring for their neighbors. Every woman (be she a politician, teacher or journalist) should be loved, loved, raised children, have a family. For Pushkin, Tatyana is the ideal of a young Russian woman, whom, having met, it is impossible to forget. So strong in her is the sense of duty, the spiritual nobility of Volova G.N. Eugene Onegin A.S. Pushkin - The Mystery of the Novel. Criticism. - M .: Academy, 2004, p. 138.

In the work of M.Yu. Lermontov's "A Hero of Our Time" the main educational theme is the problem of personality. Personality in its relation to society, in its conditionality by socio-historical circumstances and at the same time counteracting them - this is Lermontov's special, two-sided approach to the problem. Man and destiny, man and his purpose, the purpose and meaning of human life, its possibilities and reality - all these questions receive a multifaceted figurative embodiment in the novel. “A Hero of Our Time” is the first novel in Russian literature, in the center of which is presented not the biography of a person, but precisely the personality of a person - his mental and mental life as a process Anoshkina V.N., Zverev V.P. Russian literature of the nineteenth century. 1870s - 1890s: Memories. Literary critical articles. Letters. - M .: Higher school, 2005, p. fourteen . The novel organically combines socio-psychological problems and moral-philosophical, acute plot and merciless introspection of the hero, the essay of individual descriptions and the novelistic swiftness of turns in the development of events, philosophical reflections and unusual experiments of the hero; his love, secular and other adventures turn into a tragedy of the fate of an extraordinary person that has not fully taken place. The entire system of images of this work, like the entire artistic structure of the novel, is constructed in such a way as to illuminate the central character from different sides and from different angles.

This work fosters in the reader the ability to fully exist in society, the ability to understand the contradictions that often arise in the soul of any person, the ability to find a balance between psychological difficulties and obstacles that stand in the way.

The significance of the novel "A Hero of Our Time" in the subsequent development of Russian literature is enormous. In this work, Lermontov for the first time in the “history of the human soul” revealed such deep layers that not only equated it with the “history of the people”, but also showed its involvement in the spiritual history of mankind through its personal and generic significance. In an individual personality, not only its specific-temporal socio-historical characteristics, but also all-human ones, were highlighted.

The work of D.I. Fonvizin has no less significant educational value. "Minor". It is especially valuable for the period of adolescence, when young people so need help in choosing their future path in life. In Fonvizin's comedy, the theme of education is expressed in the confrontation between good and evil, baseness and nobility, sincerity and hypocrisy, animal life and high spirituality. Pedchak A.N. Russian literature of the late 18th early 19th century. - M .: Phoenix, 2003, p. 54. Fonvizin's "undersized" is built on the fact that the world of the Prostakovs from the Skotinins - ignorant, cruel, narcissistic landowners - wants to subjugate their whole life, to appropriate the right of unlimited power over both serfs and noble people, who own Sophia and her fiancé, the valiant officer Milon ; uncle Sophia, a man with the ideals of Peter's time, Starodum; guardian of laws, official Pravdin. In comedy, two worlds collide with different needs, lifestyles and manners of speech, with different ideals. The ideals of the heroes are clearly visible in how they want to see their children. Let's remember Prostakova in Mitrofan's lesson:

“Prostakova. It’s very nice for me that Mitrofanushka doesn’t like to step forward ... He’s lying, my dear friend. If he found money, he won't share it with anyone .. Take everything for yourself, Mitrofanushka. Don't study this stupid science! "

Now let's remember the scene where Starodum speaks to Sophia:

"Starodum. Not the one who counts out money, what to hide in the chest, but the one who counts out what is superfluous from himself in order to help the one who does not have what is needed ... Fatherland to serve. "

The work clearly shows the difference between good and evil, nobility and ignorance, the reader has the opportunity to evaluate all these qualities, to conclude what is truly valuable in life. the comic is deeper, inner: rudeness, which wants to look kind, greed, covering up with generosity, ignorance, claiming to be educated. The comic is based on absurdity, inconsistency of form and content. In Nedoroslya, the miserable, primitive world of the Skotinins and Prostakovs wants to break through into the world of the noble, to appropriate its privileges, to take possession of everything. Evil wants to get its hands on good, while acting very energetically, in different ways.

The theme of upbringing is no less clearly traced in the work of the great Russian playwright of the 19th century A.N. Ostrovsky's "Thunderstorm". The drama tells about the tragic fate of a woman who could not step over the patriarchal foundations of the house-building, could not fight for her love, and therefore voluntarily passed away. This work with a tragic end fosters the reader's fortitude, the ability to find a way out of the most difficult situations, maintaining self-control in difficult moments of life A.M. Palkhovsky. Drama A. N. Ostrovsky "The Thunderstorm" in Russian criticism. - St. Petersburg: Publishing house of St. Petersburg State University, 2001, p. 42. Katerina is very pious, religious. And from the point of view of the church, suicide is a grave sin, a suicide is not even given a funeral service. And we see how hard it is for her to take this step, however, it is the betrayal of the closest person that pushes her to commit suicide. Katerina was disappointed in her lover, realized that he was a weak, weak-willed person. Look at how Boris behaves in the farewell scene: at first he takes pity on Katerina, and in the end he himself wishes her death. Perhaps not so terrible, but the death of Katerina will make Boris forget her faster.

Of course, suicide can be regarded as the act of a weak-willed person. But on the other hand, life in Kabanikha's house is unbearable for her. And in this act is the strength of her character. If Boris runs away from his love, leaves Katerina, then what should she do, how to live on? And so she decides to commit suicide, since she cannot stop loving Boris and forgive him for betrayal. The drama "Thunderstorm" shows all the power of influence on a person and his soul of such relationships as betrayal, contempt, and neglect. The upbringing of students on the example of this work takes place in the mainstream of the formation of a sense of justice, respect, devotion to one's neighbor.

In the work of N.V. Gogol's "Dead Souls" the topic of education was also given close attention. Nikolai Vasilievich, being an honest, intelligent, sensitive, religious person, saw that evil rules in the world, which spreads with great speed, and a person gets along with it. Having got along with a person, it begins to flourish and triumph. Evil begins to spread so rapidly that it is difficult to define its boundaries. Considering himself a prophet, Gogol sincerely believed that it was he who should point out to mankind about his sins and help get rid of them. When you read the pages of a work, everything seems gray, vulgar, insignificant. It is dullness and vulgarity that is evil, and it is scary in itself. It is the vulgarity that gives rise to base feelings, stupidity and indifference. In this vulgar world, evil knows no boundaries, for it is infinite.

The main question asked by N.V. Gogol in the poem "Dead Souls": "Is there something bright in this world, at least some kind of appeal to the light?" No, here they serve other idols: stomach, materialism, love of money. But these are all false values, and each of the heroes has their own. In the poem "Dead Souls", the author posed the most painful and pressing issues of contemporary life. He vividly showed the decay of the serf system, the doom of its representatives. The very title of the poem had a tremendous revelatory power, carried in itself "something terrifying." The main educational idea of ​​the work can be called the doctrine of moral and spiritual values ​​of a person, as opposed to material values. A person needs lofty ideas, aspirations, emotions, a constant striving for accumulation, material wealth simply destroy the human "I".

The system of characters was made according to the principle of ever deeper spiritual impoverishment and moral decline from hero to hero. Thus, Manilov's farm "went on by itself." When reading a work, an interest in everything that is around is brought up, and the enormous harm and destructive effect of indifference and apathy is indicated. Throughout the entire poem, Gogol, parallel to the plot lines of landowners, officials and Chichikov, continuously draws another one - connected with the image of the people. With the composition of the poem, the writer always persistently reminds of the existence of an abyss of alienation between the common people and the ruling classes.

No less important for educating the reader is the work of I.A. Goncharov. Oblomov. The main features of Oblomov's character are in complete inertia, stemming from his apathy to everything that is done in the world. Pisarev D.I. Roman I.A.Goncharov Oblomov. - M .: State publishing house of fiction, 1975, p. 96. The reason for the apathy lies partly in his external position, and partly in the image of his mental and moral development. Outwardly, he is a gentleman; "he has Zakhar and three hundred more Zakhars," in the words of the author. Oblomov is not a creature, by nature, completely devoid of the ability to voluntary movement. His laziness and apathy are the creation of upbringing and surrounding circumstances. The main thing here is not Oblomov, but Oblomovism. He would, perhaps, even begin to work if he found a job on his own: but for this, of course, he had to develop under somewhat different conditions than under which he developed. In his present position, he could not find anything to his liking anywhere, because he did not understand the meaning of life at all and could not reach a reasonable view of his relationship to others.

Conclusion

So, having analyzed the topic of education in the works of the classics of Russian literature, we can conclude that the fiction of the 19th century is the most important cultural heritage that helps to educate a morally and spiritually rich generation.

Outstanding literary works help the reader to analyze their own actions, foster in them the ability to make the right decisions when a person is faced with a moral choice. The literature of the 19th century teaches us the fundamental qualities of the human soul, such as honor, dignity, loyalty, devotion, spirituality, philanthropy, humanity, hard work. Using the examples of the heroes of their works, the authors involuntarily educate in their readers the moral qualities of a human person, guided by the actions and views of their characters.

The theme of upbringing actively passes through the main part of the works of literature of the 19th century, which also forms patriotism and love for the Motherland among readers. Thus, we can say that the educational theme is an effective methodological means of forming readers' own moral and ethical views, beliefs, attitudes, ideas in the process of solving moral and ethical problems.

Bibliography

1. Aksenova E.M. Education of feelings with artistic words. A guide for the teacher. - M .: AST, 2002.

2. Anoshkina V.N., Zverev V.P. Russian literature of the nineteenth century. 1870s - 1890s: Memories. Literary critical articles. Letters. - M .: Higher school, 2005.

3. Bazanova AE Russian literature of the 19th century. - M .: Law and Law, 2001.

4. Volovoi G.N. Eugene Onegin A.S. Pushkin - The Mystery of the Novel. Criticism. - M .: Academy, 2004.

5. Goncharenko T.I. Aesthetic education of students in a literary and creative society. - M .: Gardariki, 2003.

6. Meshcheryakova N.Ya., Grishina L.Ya. Formation of the ideological and moral position of adolescents by means of literature // Improving the teaching of literature at school. - M .: Education, 1986.

7. Pedchak A.N. Russian literature of the late 18th early 19th century. - M .: Phoenix, 2003.

8. Pisarev D.I. Roman I.A.Goncharov Oblomov. - M .: State Publishing House of Fiction, 1975.

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The term was coined by Karl Morgenstern in 1819 in his university lectures to define the "emerging" adult. Later this expression was "legalized" by Wilhelm Dilthey in 1870. and popularized it in 1905.

The upbringing novel began its development from the Goethe novel The years of study of Wilhelm Meister ... Novels of this type are guided by the psychological, moral, moral and social formation of the hero's personality; it is also extremely important to change his character.

Although this type of novel originated in Germany, it has had a great influence on literature throughout the world. After the translation into English and publication of Goethe's novel in 1824, many authors began writing parenting novels. In the 19th - 20th centuries. the novel became even more popular, spreading to Russia, Japan, France and other countries.

The genre originated from a folk tale in which the hero goes out into the world to find his happiness. As a rule, at the beginning the hero is emotional (for various reasons: losses, conflict between himself and society, etc.)). With the development of the plot, the hero accepts the foundations of society, and society accepts it. The hero reaches maturity. In some works, after reaching maturity, the hero can help other people.

There are many subgenres of this type of novel (some of them):

1. Adventure novel (Treasure Island, Two Captains, etc.);

2. Fiction novel (Portrait of an artist in his youth, Gift, etc.) - the formation of an artist and the growth of his own personality;

3. Entwicklungsroman ("development of the novel") is a story of growth, not self-improvement;

4. Erziehungsroman ("parenting novel") focuses on training and formal education;

5. A novel of a career - here, opportunistic heroes appear before the reader, for example;

6. Boy's horrors - the term was coined by a Russian horror party to refer to parenting novels in the horror genre. The main character can be either a boy or a girl. A special feature is that a significant part of the narration is transmitted through the perception of a child / teenage hero or an adult hero recalling his childhood;

7. Coming-of-age story (story of majority) - focused on the growth of the hero from youth to adulthood ("majority").

In addition, some memoirs, for example, can also be viewed as an upbringing novel.

Some of the main plots:

1. The hero is faced with serious trials (an orphan or the loss of parents, war, etc.);

2. The hero stops idealizing people. Becomes more cynical. It is possible that he becomes a villain;

3. Ritual of growing up (you need to kill someone enemy or an animal, complete a risky task);

4. First or teenage love;

5. Conflict with parents, leaving home is possible.

This type of novel is reflected in the cinema.

Parenting romance is novelistic narration, which is based on the history of the stage development of the personality, whose essential formation, as a rule, can be traced from childhood (adolescence) and is associated with the experience of cognition of the surrounding reality. Although the origins can already be found in the works of antiquity (Satyricon, 1st century, Petronia; Golden Donkey, 2nd century, Apuleius), many of its features are clearly manifested in Gargantua and Pantagruel, F. Rabelais, Simplicissimus , H.J.C. Grimmelshausen, as a genre of education, the novel was comprehended and declared as a programmatic era of the Enlightenment with its dominant principle of human formation. Classic examples of the genre - the novel by K.M. Wieland "Agathon" (1766), the trilogy by J.V. Goethe "Theatrical vocation of Wilhelm Meister" (1777-85, not completed) "The years of study of Wilhelm Meister" (1795-96), " The Years of Wanderings of Wilhelm Meister "(1821-29), as well as the only unfinished novel by F. Schiller" The Spiritual Seer "(1789), where, according to the author, in the form of memoirs of a" non-fictional "person is given" the history of the delusions of the human soul "(Schiller F. Collected Works).

The educational concept of the novel of education (closely related to the theory of "aesthetic education" by F. Schiller) was supported by romantics (theoretically - by Schlegel, in the artistic sphere - by L. Teak's philosophical and symbolic novels "William Lovel", and "The Wanderings of Franz Sternbald", Novalis - "Heinrich von Ofterdingen") and is supported by the further development of literature - like German, where the novel of education is traditionally one of the priority genres and its features can be found in the novelism of the 19th century (the novel of one of the leaders of the left-wing radical literary group Young Germany K. Gutskov "Wally doubting ", 1835) and the 20th century (novels by T. Mann" Confessions of the adventurer Felix Krul ", 1954," Magic Mountain ", 1924; novels by G. Kant, K. Wolf, E. Strittmatter, Z. Lenz), and the world (in a wide range of genre modifications - from "Confessions" by J.J. Rousseau, published in 1782-89, to the autobiographical trilogies of Leo Tolstoy and M. Gorky). From its very beginnings, the novel education is closely connected with pedagogical, philosophical-pedagogical and memoir-pedagogical works ("Kyropedia" by Xenophon, 5-4 centuries BC; "The Adventures of Telemacus", F. Fenelon; "Emile, or O education ", 1762, J.J. Rousseau;" Levan, or the Doctrine of education ", 1806, Jean-Paul (Richter);" Pedagogical poem ", 1933-36, A.S. Makarenko). In a broad sense, many novels of the 1820s, touching upon the problems of social and psychological development of the individual, can be attributed to the novel of education: The Story of Tom Jones, Foundling, 1749, G. Fielding; The Adventures of Rodrik Random, 1748, and The Adventures of Peregrine Pickle, 1751, TJ Smollett; novels "The Adventures of Oliver Twist", 1838, "The Life and Adventures of Nicholas Nickleby", 1839, and, especially, "David Copperfield", 1850, Charles Dickens; novels by O. Balzac, G. Flaubert, A. Musset, E. Zola, R. Rolland, F. Mauriac.

The phrase parenting romance comes from German Bildungsroman.

An upbringing novel or educational novel (German: Bildungsroman) is a type of novel that became widespread in the literature of the German Enlightenment. Its content is the psychological, moral and social formation of the protagonist's personality.
I have always been interested in this topic. Books about youth, their problems, thoughts and aspirations. Often these are autobiographies. How do adolescents, young people of different times perceive the world around them, what do they want from life and what do they bring to it? I believe that while a person is young, he is characterized by "quests" that sometimes differ from generally accepted conventions, norms, etc. With age, more and more you want some kind of stability. The person calms down and resigns himself. Not always, but often. In this note, I would like to dwell on the most interesting works of the 18-21 centuries that touch on this issue: youth, first of all. Everything is very subjective. Moreover, I have not read the overwhelming majority of books. I'm just going to. This is the result of searches on the net, including in this LJ, almost all annotations are not mine. I hope this topic will be interesting not only to me. If you have something to add to the list, or want to discuss books, the topic is great! The heroes of "Jester" and "Courier" are especially interesting. If you know books of this kind - please, advise!
I read from the list 3, 4, 6, 9, 21, 22, 23, 26, 29, 33, 49.

1) Goethe I.-V. The years of study of Wilhelm Meister (1796). By genre, this is a novel of education, revealing the organic spiritual development of the hero as he accumulates life experience.

2) Dickens C. David Copperfield (1850). This is the story of a young man who is ready to overcome any obstacles, endure any hardships and commit the most desperate and daring deeds for the sake of love.

3) Tolstoy L.N. Childhood. Adolescence. Youth (1852-1857). The main topic was the study of the inner world of a person, the moral foundations of the individual. The agonizing search for the meaning of life, the moral ideal, the hidden laws of being pass through all of his work.

4) Olcott L.M. Little Women (1868). The book is about the growing up of four sisters during and after the Civil War. They live in a small American town, their father fights at the front, and it is very difficult for them. But despite all the difficulties, the March family tries to maintain good spirits and support each other in everything. The sisters work, study, help their mother around the house, stage family plays, write a literary newspaper. They soon take on another member, Laurie, a rich and bored young man who lives next door and becomes a close friend of the whole family. Each of the March sisters has her own character, her dreams, interests and ambitions. Each has its own shortcomings, bad inclinations that they have to overcome. Little Women doesn't have any big incidents or big twists. This is a book (film) about small tragedies and small joys of an ordinary family.

5) Flaubert G. Education of the Senses (1869). The hero of the novel, Frederic Moreau, is trying to make a career, to realize his natural abilities, he wants and knows how to love. But his chosen one is tied by the knot, and all Frederick's undertakings - writing, painting, jurisprudence - remain undertakings ...

6) Dostoevsky F.M. Teenager (1875). In the novel, Dostoevsky outlined the complex mental and moral path of development of a Russian youth from the lower classes, who early recognized the seamy side of life, suffering from general “disorder” and social “badness”.

7) Belykh G., Panteleev A. Republic of ShKID (1927). 1920s. The streets of Petrograd are prowled by colorful and pathetic street children, who are caught from time to time for children's receivers. In one of them - the Dostoevsky School of Social and Labor Education (SHKID) - hungry, impudent and quick-witted ragamuffins gathered. This shelter of comedians is run by an old-regime director, who did not lose either honor or intelligence under Soviet rule. His disarming trust taught the guys masculinity, helped them not to dissolve in the run of the time of troubles ...

8) Mishima Y. Confession of a mask (1949). The novel that brought fame to the twenty-four-year-old author and brought him worldwide fame. The key theme of this famous work is the theme of death, in which the hero of the story sees "the true purpose of life."

9) Salinger Jerome. The Catcher in the Rye (1951) On behalf of a 17-year-old boy named Holden, he tells in a very frank form about his heightened perception of American reality and rejection of the general canons and morals of modern society. The work was immensely popular, especially among young people, and had a significant impact on world culture in the second half of the 20th century.

10) Golding W. Lord of the Flies (1954). Dystopia. A detachment of boys who survived the plane crash find themselves on an uninhabited island. An unexpected twist of fate pushes many of them to forget about everything: first - about discipline and order, then - about friendship and decency, and in the end - about human nature itself.

11) Brushtein A.Ya. The road goes into the distance; At dawn hour; Spring (trilogy, 1956-1961). A novel about the girl Sasha, her personal development, her childhood dreams (Sasha's childhood goes back to the pre-revolutionary period in the city of Vilno), problems, about everything that is so abundant in the life of a teenager, and difficulties seem almost insurmountable at this age. After all, you need to try to find a common language with your peers and adults around you, and understand yourself. All these problems live in Sasha's soul, and she solves them with childlike spontaneity, with little experience in life, as her child's soul tells her.

12) Bradbury R. Dandelion Wine (1957). The events of the summer lived by a 12-year-old boy, behind which the author himself can easily be guessed, are described by a series of short stories connected by a kind of "bridges" that add integrity to the story. Enter his bright world and live with him one summer filled with joyful and sad, mysterious and disturbing events; summer, when amazing discoveries are made every day, the main of which is that you are alive, you breathe, you feel!

13) Grass G. Tin drum (1959). The story is led by a patient of a psychiatric clinic, striking with his sanity - Oscar Macerat, who, in order to avoid the fate of an adult, in early childhood decided not to grow up anymore.

14) Harper L. To Kill a Mockingbird (1960). This is a story about three years of life in the small town of Maycomb, Alabama, about how children become adults, learning about the cruel world in which they will live, and comprehending its harsh laws.

15) Balter B. Goodbye, boys (1962). This is a story about the pre-war generation, about a southern city filled with sun, sea and amazing smells. The story is told on behalf of Volodya Belov, and it combines a boy and a 40-year-old who has gone through the war, who has seen a lot.

16) Burgess E. A Clockwork Orange (1962). The author has made an exhaustive analysis of the causes of crime among young people, intolerance of the new generation to the usual moral values ​​and life foundations of modern society. The ruthless leader of a gang of teenagers who commit murders and rapes goes to jail and undergoes special treatment to suppress the subconscious desire for violence. But life outside the gates of the prison is such that the measures taken to "correct the cruelty of character" can not change anything.

17) Kaufman B. Up the stairs leading down (1965). The novel is about schoolchildren and their teachers, children and adults, about those who go against the system. A young teacher, Miss Barrett, after graduating from college, enters the Calvin Coolidge High School school for difficult children. The relationship between teachers and students in it is very difficult ...

18) Fowles D. Magus (1966). The novel is set in England (parts I and III) and Greece (part II) in the 1950s. The novel is filled with quite recognizable realities of the time. The protagonist of the work is Nicholas Erfe (on his behalf the story is told in the traditional form of an English upbringing novel), an Oxford graduate, a typical representative of the post-war English intelligentsia. A romantic loner who hates the present time and is skeptical about his "Englishness", Nicholas Erfe flees from the routine of the present and the predictability of his future to the distant Greek island of Fraxos in search of a "new mystery", an imaginary life, thrills. For Erfe, fascinated by the ideas of existentialism fashionable at that time, the fictional, unreal world is more valuable and interesting than the world in which he is forced to stay ...

19) Unknown - Go ask Alice (1971). This is the diary of a young drug addict.
Names, dates, names of cities have been changed at the request of the participants in this story. This book does not pretend to be a detailed description of the world of drug addicts, it chronicles the life of only one girl who stumbled. Alice's Diary has been published in more than four million copies in America alone and has long been a modern classic. This is a merciless, uncompromising, honest and very bitter tale of a teenage girl about her life on drugs. The book is based on true events.

20) Le Guin, W. Far, Far Away (1976). A very realistic and strong-minded novel by Ursula Le Guin. The main character, Owen Griffiths, is only seventeen. He is handsome and thinks he knows what he wants out of life. But once, having met Natalie, Owen realizes that he does not really know anything yet. Through friendship with Natalie, who has dedicated her life to music, Owen tries to find his own path to the future ...

21) V.P. Krapivin Lullaby for Brother (1978) It's easy to be in a crowd. It's much harder to go against the tide and stand up for what you believe in. But if you're sure you're right? If you cannot indifferently watch how some offend the weak, while others do not care about this? Cyril feels the strength to change the current situation. Conscience does not allow him to just close his eyes ...

22) Carroll D. The Basketball Diaries (1978). Autobiography. A classic about a young hipster growing up on the dirty streets of New York. The book brought Jim Carroll great fame in the underground environment. After the period described, the author rose to fame as a poet and rock musician, but The Basketball Diaries remains the pinnacle of his talent - witty, free-flowing, rebellious narrative, distinguished by subtle observation. Jim roams his domain - New York - and his own flesh belongs to him. Plays basketball. Cheats and steals. He gets high and suffers from withdrawal symptoms. Seeks cleanliness.

23) Selby H. Requiem for a Dream (1978). The book tells the story of four New Yorkers who, unable to bear the difference between dreams of an ideal life and the real world, seek comfort in illusions. Sarah Goldfarb, who has lost her husband, dreams only of getting on a TV show and appearing in her favorite red dress. To "fit" into it, she goes on a diet of pills that change her mind. Sarah's son Harry, his girlfriend Marion and best friend Tyrone are trying to get rich and escape the life that surrounds them, selling heroin. The guys themselves indulge in drugs. Life seems to them like a fairy tale, and not one of the four realizes that he has become addicted to this fairy tale. Requiem for all those who, for the sake of Illusion, betrayed Life and lost a Human in themselves.

24) Christiane F. We, children from Zoo station (Me, my friends and heroin, 1979). This story is about a drug addict girl. She was only 12 years old when she first tried heroin. Then she had no idea what she was dooming herself to, how hard it would then be for her to get out of the quagmire into which drugs would drag her. This book opens up to us the world of people like Christina, tells what and how they experience, what pushes them to do this ...

25) Barnes D. Metroland (1980). In a cozy bourgeois suburb of London, in a house with a flower garden, a boy grew up who hated everything cozy and bourgeois. Together with his best friend, the boy was in awe of the poetry of Rimbaud and Baudelaire, considered people over a certain age to be dull dumb, defined politeness as lies, poise as indifference, marital fidelity as a tribute to convention, etc. The boy dreamed of changing the world. Or at least live in opposition to the world, when every gesture would be a sign of struggle. But it turned out differently: the world changed the boy ...

26) Vyazemsky Yu.P. Jester (1982). Once upon a time there was a Jester. But none of those around him knew his real name. His father called him Valentin, his mother - when Valenka, when Valka. At school they called him Valya. And only he himself knew his true name - the Jester, he was proud of him, protecting him from prying ears and immodest languages, he wore it deep under his heart, as the greatest secret and most intimate wealth, and only in the evenings, alone with himself, waiting, until his parents go to bed and can not disturb his loneliness, entered this name in his "Diary".

27) Bukowski C. Ham Bread (1982). Bread and Ham is Bukowski's most heartfelt novel. Like The Adventures of Huckleberry Finn and The Catcher in the Rye, it is written from the perspective of an impressionable child dealing with the duplicity, pretentiousness and vanity of the adult world. A child gradually discovering alcohol and women, gambling and fighting, Hemingway, Turgenev and Dostoevsky.

28) Townsend S. The Adrian Mole Diaries (1982). Life is not easy when you are 13 years old - especially if a volcanic pimple has jumped on your chin, you cannot decide which of the careless parents to live with, an evil bully is waiting for you around the corner of the school, you do not know who to become - a rural veterinarian or a great writer , the beautiful classmate Pandora did not look in your direction today, and in the evening you need to go to cut your nails for an old grumpy invalid ... Sue Townsend makes us laugh at her characters and turns inside out any absurd situation in which they drive themselves, be it a divorce of parents, publication in a literary magazine or a failed school exam. But, laughing away, the reader understands that "Diaries" is, first of all, a book about loneliness and overcoming it, about love and devotion, about how to find oneself in this world. And it becomes clear why Adrian Mole is so popular all over the world - any of us could subscribe to his "Diaries".

29) Shakhnazarov K.G. Courier (1982). A typical representative of young people, "the most curious specimen" and "unrequited dreamer" Ivan shocks not only his peers, but also a respectable honored professor with his extravagant antics. However, the professor’s daughter Katya confuses the “fooling around” himself.

30) Banks I. Wasp Factory (1984). The famous novel by an outstanding Scotsman, the most scandalous debut in English prose of recent decades. Meet sixteen-year-old Frank. He killed three. He is not at all what he seems. He is not at all who he considers himself to be. Welcome to the island guarded by the Pillars of Sacrifice. To the house where the deadly Wasp Factory awaits in the attic.

31) McInerney D. Bright Lights, Big City (1984). The hero of the novel is an energetic and promising young man who could achieve a lot in life, but risks being left with nothing at all. He voluntarily crossed the line beyond which the disintegration of personality begins, and he will never stop. Painful cloudiness in his eyes means that he has already gone over his dose, but what to do if all the cells of his body resemble little Bolivian soldiers who are hungry. And they need a camping Bolivian powder ...

32) Dee Snyder, Adolescent Survival Course (1987). This book is about how to protect yourself from all kinds of troubles and how to act if you cannot avoid them. All kinds of dangers lie in wait for a teenager in the stone jungle of cities, on hiking trips and even in the safe and familiar space of his own apartment. Dee Snyder has an honest conversation on an equal footing with adolescents - high school students who, on the verge of an independent life, are faced with many intimate and psychologically difficult questions. After such a frank conversation, young readers, perhaps, will be able to take a fresh look at their problems and find a worthy solution for them.

33) Ellis B.I. Attractiveness Rules (1987). At the prestigious Camden College, they have fun and drink for five. Falling in love and cheating on each other, quarreling and taking their own lives, the local bohemia is in a hurry to thoroughly study all forbidden passions and vices. This is a touching, harsh, sometimes even piercing drama about human nature by the example of three students, whose stories are closely intertwined with each other ...

34) Palliser C. Quincunx (1989). Imagine a novel written in the style of Dickens, but with a dynamic plot and an incredible amount of mysteries. The main character of "Quincunx", boy John, lives with his mother on an estate near a remote village and does not suspect that some terrible secret is connected with his birth. He will have to grow up and solve it - and the reader will, with bated breath, follow the bizarre plot twists and try to understand what John himself was silent about in this novel-confession. After all, "Quincunx", like a rose ("Quincunx" and means a four-petalled rose), is fraught with many options for solutions. Each of the characters in the novel can lie or be mistaken, and although the author left a lot of hints and hints in the book, it is not easy to reveal all the secrets of the novel!

35) Lukyanenko S. Knights of the Forty Islands (1992). The first novel by Sergei Lukyanenko. A tough and exciting story of adventures of boys and girls, "thrown" from our world - and abandoned in the world of Forty Islands. To a world where they will have to fight each other. Until victory - or until death. The game? Almost a game. Only the losers die - for real ...

36) Kulikkia D. You don't care to drive (1994). The novel by the Italian writer of the new generation Giuseppe Culicchia tells about the forced, but amusing meeting of a modern young man with the world around him. The protagonist of the book, Walter, in his twenties, is experiencing his entry into adulthood, experiencing uncertainty, disappointment, youthful fears, quite fully reflecting the mood of the youth environment of Turin at the end of the 80s of the twentieth century, but at the same time referring to everything that happens with a great deal of irony. People of the opposite sex, the Department of Defense, the inhabitants of the university, employers, just assholes - this is a short list of those with whom he will have to build relationships. Upon the publication of the Italian edition, the novel was awarded the Mont Blanc literary prize, awarded by adult critics, and was immediately filmed.

37) Welsh I. Nightmares of the Marabou Stork (1995). Roy Strang is in a coma, but his mind is overflowing with memories. Some are more real - about the life of the Edinburgh outskirts - and conveyed in grotesquely vulgar, inert language. Others - the fantasy of hunting the African marabou stork - are told in the vivid, imaginative language of an English gentleman. Both stories are excitingly interesting both in themselves and in their counterpoint - as a sharp contrast between real life, full of filth and violence, and invented - noble and sublime. Roy Strang's story is a shocking trip into the life and consciousness of the modern English lumpen.

38) Garland A. Beach (1996). A dystopian novel about the identity of modern young people who grew up in the urban jungle in the context of the global commercialization of the world. The search for an earthly paradise, its acquisition and destruction reveal the inner contradictions and spiritual tragedy of a generation without illusions.

39) Joyce G. The Tooth Fairy (1996). There is a belief: if a child, falling asleep, puts a fallen milk tooth under the pillow, the Tooth Fairy will take it and leave a coin instead of the tooth. Waking up one night, seven-year-old Sam discovers the Tooth Fairy at his bedside, more like not the character of Charles Perrault or the Brothers Grimm, but an evil gopnik of indeterminate gender. He himself is to blame: you shouldn't have woken up, you shouldn't have seen the fairy. Now she (or he?) Will accompany Sam all his childhood and adolescence, changing with him, either helping him or threatening him, but never giving an answer to the question: is this reality or a nightmare, and who is dreaming to whom?

40) Gilmore D. Lost Among Homes (1999). His name is Simon Albright and he is 16. That explains a lot. Much, but not all. Simon tries to become his mother's best friend. A man adored by his girlfriend, a man respected by his father. But this is not so easy to do when childhood leaves and the mother moves away, the girl is too beautiful, and the father is stricken with mental illness ...

41) Brasm A. I breathe (2000). The novel of a sixteen-year-old schoolgirl from Metz is the loudest debut, a sensation in French literature in recent years. A novel about peers. About the lust for power, cynical and cruel. About the thirst for freedom, sometimes just as cruel and merciless. About passionate friendship that grows into slavish obedience, and about a rebellion that ends in murder. And most importantly, about the merciless struggle of two individuals, two psychologies, which lasts for several years and ends tragically. The book's charm lies in the contrast between the acuteness of the main character's feelings and the laconic style of the leisurely narration chosen by the author. There is no language of choking emotions, confused syntax of gasps, direct reservations of a youthful diary. Memories flow evenly and as if slowly. And this even breathing of the story serves as the key to the image of the main character.

42) Likhanov A. Nobody (2000). Nobody - the nickname given to the main character, the "graduate" of a banal orphanage by bandits, is simply deciphered: Nikolai Toporov, by name and surname. But this is a symbol. In one of the richest countries in the world - present-day Russia, any boy of simple origin in response to the question: "Who are you?" probably at first he will answer in surprise: "nobody ..." and only then - "man." So he will say: "Nobody ... Man."

43) McDonell N. Twelve (2002). Told by a seventeen-year-old author, a frightening story set in Manhattan tells the story of the lives of urban teenagers. Left unattended, children of wealthy parents throw parties in luxurious mansions, entertaining themselves with drugs and sex, leading to a tragic, shocking ending.

44) Whittenborn D. Cruel People (2002). This is a fierce and entertaining modern parenting novel, about what is going on in the mind of a fifteen-year-old teenager - hardly anyone could imagine that, and about the world of "cruel people" - hardly anyone dared to think so.

45) Stark W. Freaks and bores; Can you whistle, Johanna? (2002-2005). Often we - both adults and children - lack a loved one next to us. And then it becomes very difficult to live. But the heroes of the books of the wonderful Swedish writer Ulf Stark do not want to waste time on despondency and melancholy, they decisively interfere in the course of events and boldly decide their fate ...

46) Lebert B. Crazy (2003). In his autobiographical novel, sixteen-year-old Benjamin Lebert speaks with surprising warmth, a great sense of humor and a fair amount of irony about the difficulties of growing up.

47) Notomb A. Antichrist (2003). Two young heroines engage in a life-and-death battle. Both are sixteen years old, but one has already blossomed, and the other does not even believe that this will ever happen. The caterpillar looks at the butterfly as if spellbound, because beauty is most important to her. But as soon as, having come to her senses, she sets in motion her, so far the only, weapon - a cold and ruthless mind - the intrigue is rapidly gaining momentum.

48) Pierre DBC, Vernon Lord Little (2003). Vernon G. Little, a teenager from a provincial Texas town, becomes an accidental witness to the massacre of his own classmates. The police immediately take him into circulation: first as a witness, then as a possible accomplice, and finally as a murderer. The hero flees to Mexico, where a palm paradise and his beloved girl are waiting for him, and meanwhile more and more crimes are hanged on him. With some resemblance to JD Salinger's story "The Catcher in the Rye", this work is tragicomic: plot clichés of mass fiction become, under the pen of DC Pierre, a breeding ground for an intelligent and evil story about today's world, about methods of manipulating mass consciousness, about sins and the weaknesses of modern man.

49) Raskin M.D. Little New York bastard (read, 2003). True story of the misadventures of a young outsider from New York, who can be compared to Holden Caulfield of the new century.

50) Iwasaki F. The Book of Unhappy Love (2005). What are you ready to win the heart of your girlfriend? Are you ready to break Olympic records or become an ace in roller skating? Are you capable of turning into a revolutionary or a devout Jew? Can you learn a dozen serenades in a day, and then yell them under the window of your beloved, frightening half a block? And if your inhuman efforts did not touch your cherished heart, then will you be able not to fall into despair, but, on the contrary, look with irony at your own love attempts? How, for example, did the Peruvian Japanese Fernando Iwasaki, author of The Book of Unhappy Love, do it?

52) Duntorn D. I, Oliver Tate (2008). This is the diary of a fifteen-year-old teenager who does not know where to apply his excessive erudition. Oliver climbs into the dictionary every day to learn a few new words like the word "euthanasia", writes a detailed letter to a classmate who is bullied by everyone, explaining to her how to become the favorite of the class ...

D. A. Chugunoe

FEATURES OF THE "NOVEL OF EDUCATION" IN THE NEWEST GERMAN LITERATURE

VESTNIK VSU. Series: Philology. Journalism. 2006, no. 1
Voronezh State University
http://www.vestnik.vsu.ru/content/phylolog/2006/01/tocru.asp

Possibility of style definitions of the literature of the 1990s. it is significantly complicated by the reason that in the reader's mind works that are completely different from each other are juxtaposed. "Handke's consistent anti-realism" 1 is combined with close attention to the experiments of realism on the part of Michael Kumpfmüller, the demonstrative cynicism of Christian Kracht and the irony of Benjamin von Stukrad-Barre with the melancholic intonation of Judith Hermann and the soulful lyricism of Siegfried Lenz ...

Such combinations are explained by the fact that the described period in the history of German society is characterized by many historical - political, social and, accordingly, cultural - transformations. According to the political scientist A. Dugin, addressed to the 1990s, “we are living in an era of fundamental paradigm shift” 2, which undoubtedly affects the literary process as well. It is no coincidence that Marcel Bayer, one of the popular young authors of the late 20th century, was very skeptical about the rules of literary creation: "The meaning of literature cannot be adherence to norms. Literature can only express a rejection of the norm." The multicultural and multinational European reality that has been emerging after 1989, unlike in past years, does not imply any cultural unity (previously emerging under conditions of a single statehood and a relatively single state ideology). The rapid current of modern reality is not conducive to long-term stylistic searches. This circumstance is well understood by literary scholars. I will give just one example. Describing the latest German-language lyrics, G. Korte shrewdly used a line from a poem by Bert Papenfuss - "Free from all isms" 4.

In particular, this observation is applicable to the authors of the younger generation, who entered the literature precisely in the 1990s. Tanya Dukkers wrote in an essay in the fall of 1998 about a new understanding of the creative process: "Literature should be a rapidly living, quickly and loudly presented product of everyday life ..." (italics - D. Ch.) 5. In such a situation, the concept of "style" most often turns into a necessary set of techniques that provides the author with a sufficient level of market success 6. In other words, there is often an almost absolute coincidence of the concepts of "style" and "brand", which led in the 1990s. the red color of the so-called 7 "pop literature". At the same time, the combination of the general European situation of postmodernist trends in literature (according to the apt observation of the modern culturologist A. Tsvetkov, "the general relaxation of the authors and the massive rejection of any mission and non-artistic claim of art" 8) and notable attempts to overcome it also cause a certain complexity of style assessments.

It is quite natural that one of the main issues in this situation is the question of the aesthetic and ethical value of works, their axiological content. Literary critic I. Arend ironically assesses modern writing practice, drawing attention to the enthusiasm for electronic literary projects: “An increasing number of authors make their own Internet pages. Everyone hopes for the opportunity to publish as soon as possible and go directly to the reader. catalog of goods.You can claim everything - from a novel to lyrics and smoky chanson ...<...>But thanks to the way texts are promoted on the web, the author loses his greatness, turning into a lecturer, even a censor, when he exercises control over his guest page ... Martin Auer asks home page visitors at the end of the exhibited excerpts from his novel, like in a questionnaire: " Have you been bored? If yes, in what places? "Frightened Christine Eichel 9 from Wiesbaden can already see how the plebiscite of readers crowds out the soliptic author" 10.

Of course, in the literature of the traditional form of existence (not electronic), this is not so noticeable, however, here the author's close attention to the needs of the public, reflected in the form, plot, collisions and the actual public presentation of the text, manifests itself quite often. In 1998, Judith Hermann successfully used the image of the author of a new generation, thanks to her competent publishing policy and timely advertising announcements, she became famous even before the publication (!) Of her debut book. The thoughtful combination of the creative process and the cultivated author's image into a kind of "artistic and commercial whole" 11 also distinguishes other contemporary writers - I. Schulze, K. Kracht, B. Von Stukrad-Barre .. - and even Gunther Grass was forced to listen to the demands of the public when he created the acclaimed "Crab Trajectory" 12.

In this article, we do not set ourselves the task of exploring the entire variety of stylistic features of German literature in the 1990s, limiting ourselves to addressing only one aspect of the modern literary process. The subject of our attention will be the traditional German "upbringing novel". Using the example of artistic transformations taking place in this genre at the end of the century, we will try to show what is often referred to as "Zeitgeist", as the spirit of the times in art, which is formed from popular models of author's and reader's behavior.

At the same time, it seems that the tendencies that will be discussed are reflected in the works of both well-known and young authors, so we will not divide (with some exceptions) a single literary process into any streams or directions.

The portrayal of life "as an experience, as a school through which every person must go", characteristic of the "novel of education" from its very inception, was a characteristic feature of many works of all German post-war literature. Let us name here, for example, "Assembly Hall" (1964) and "Imprint" (1972) by Hermann Kant, Erwin Strittmatter's multivolume epic "Wonderman" (1957-1980), continuing the tradition of "German Lesson" (1968), "Living Example" ( 1973), "Museum of Local Lore" (1978) and "Training Ground" (1985) by Siegfried Lenz ...

Openly striving to comprehend the "private" issues of life, offering to look at a person in a special way - as a variable value depending on external circumstances, showing how a person "becomes with the world, reflects the historical formation of the world itself" - this genre turned out to be natural demanded in the latest German literature. "The problems of reality and the possibilities of man, freedom and necessity and the problem of creative initiative", which M. M. Bakhtin wrote about in relation to the "novel of education," became the most acute problems of reality itself, which was taking shape after the fall of the Berlin Wall.

It is not difficult to trace that the traditional scheme of the "upbringing novel" was also implemented in the works of the 1990s, which became widely known, for example, in "The Flight of Hampel" by Michael Kumpfmüller and "Heroes Like Us" by Thomas Broussig.

The protagonist of the first of these novels, Heinrich Hampel, as a teenager, and later in his youth, absorbs the brutal science of survival in military and post-war reality. Fate draws him from country to country, from continent to continent, his life turns into a kaleidoscope of meetings and partings; and only at the end of his life, at the end of Honecker's reign, Hampel comes to the realization of a number of bitter truths for himself. From childhood, the story of Klaus Ultzsta, written by Broussig, begins. Throughout his life, this character is included in the rigid structure of East German society, and only postfactum does he understand the real essence of the years he lived ... In general, these works are constructed in a familiar way:

1. The main character goes through certain stages of his personal development: "years of study" - "years of wanderings" - "years of wisdom";

2. the inner world of the hero, the hidden motives of his behavior are revealed to the reader;

3. the novel receives a monocentric structure, where the epic tendency gives way to subjective lyrical narration;

4. the paradigm of the hero's spiritual growth is built through a personified, "mirror" arrangement of the characters: the characters surrounding the hero appear as his reflections, options for his possible development; "tests" and temptations of the hero are carried out in meetings and ideological disputes;

5. The work has a stepped plot-but-compositional structure, demonstrating the spiritual development of the hero.

The characteristic structural elements of the "upbringing novel" are also present in other works of the 1990s, demonstrating the traditional relevance of this genre for the German consciousness:

- in Jens Sparshu's novel "The Fountain of the Room", the protagonist, already in adulthood, is forced to go through the difficult path of "re-education", rethinking his previous life under the conditions of the socialist system and adapting to the new German reality; - in Andreas Mayer's novel "Spirits of the Day", an essential place is occupied by the depiction of the deep inner metamorphoses of his hero, Anton Wisner, overcoming various everyday and spiritual difficulties on the way to gaining a new view of the world and his place in it. The action of the novel takes only a few days, but the story of the hero's "upbringing" presented in a concentrated form, the openness and the importance of the plot of his thoughts and experiences convince the author of the inheritance of the tradition; - the characteristic paradigm describing the spiritual growth of the hero is also found in the novel "The Fed World" by Helmut Krausser: without being deceived by the fundamental worldly disorder of the character, we observe his constant striving for the Higher beginning of life, which manifested itself already in Hagen's distant childhood, and at the same time we trace the situations , in which the material principle of real life is spiritualized from above ...

Genre elements of the "upbringing novel" are also present in Maxim Biller's Daughter, Thomas Bussig's Solnechnaya Alley, Christoph Hein's Willenbrock, Benjamin Lbert's "Crazy", Siegfried Lenz's novels Resistance and Arne's Legacy .. ...

At the same time, one should point out certain changes in the genre taking place in the 1990s. and conditioned by the very specifics of the new historical era.

The "novel of education" was a natural creation of the Age of Enlightenment, which believed that the natural kindness of man needs to be processed by reason. The traditional construction of the plot in the educational "novel of education" implied that the strength of the natural, "natural" principle 13 in the hero was sufficient to resist the "unreasonable" that surrounded the hero, those "unnatural" conditions in which he found himself.

Without touching upon the general problems of the historical development of the "upbringing novel" in our work, we note that such an ideological and compositional attitude is radically rethought in the German novel of the 1990s.

The "oscillation" of the human element, which characterizes the European reality of the 20th century. and especially its second half, morbid individualism and other value signs of personality, which were discussed in the previous chapter, led to a change in emphasis in the relationship "person - world", portrayed in the "novel of education." In this respect, a significant event in literary life after 1945 was Gunther Grass's satirical novel "Tin Drum", which presented an unusual hero to the public - in protest against the reality that "educated" him, refused to grow up, "cut himself off" from his usual social connections. The development of the authorial thought of Grasse, reflected in the work of 2002 - "Trajectories of the crab", is indicative. The writer here questioned the final part of the process in which the hero of the traditional "parenting novel" is involved. In the fate of Paul Pokrieffke, a journalist, tiredly telling the story of his life, inextricably linked with the history of post-war Germany, recalling certain events of the past and present, a seemingly well-known scheme of personality formation realizes itself. However, Grasse deprived this scheme of completion: the hero's accumulation of knowledge about the world, life experience, which should have led to the confirmation in the hero's mind of the idea of ​​serving people, a real "exit" to them, do not give the expected result. The hero of Grasse speaks, of course, about the need, about his duty to "enlighten" others, but at the same time the mournful final lines of the whole work convince the opposite: he actually admits his own impotence to change anything in life for the better (as he admitted it and " the Old Man who was filled with writing ", in whose image the figure of Grasse himself is guessed). Remembering the human madness that colored the entire XX century. in dark tones, he tragically says, leaving no alternative to the future: "There will never be an end to this. Never."

On the understanding and interpretation of human destiny, characteristic of the "upbringing novel", in the 1990s. reflections on the totalitarian tendencies of the XX century were noticeably reflected. The key anthropological problem of literature — the transformation of a “private” person into a “cog in the system”, into a person “in the service of the state” —changed both the previous understanding of personal capabilities and the assessment of its interaction with society. Let us trace these changes on the example of the already named novels of Broussig and Kumpfmüller.

The merciless irony about the East German past that permeates the novel Heroes Like Us turns the process of upbringing the Teroy into something opposite — into the process of his active assimilation of all kinds of psychic and mental complexes of the era, distorting his private existence. At the same time, the structure of the traditional parenting novel is perverted to the limit. The hero's overcoming of difficulties (point 1 of the genre scheme) on the way to mastering a useful business (point 2) in the version of the fate of Klaus Ulytssta looks like a conscious finding and invention of these difficulties by himself - glad to become the greatest pervert in the history of chapters. Immersion in the thoughts and feelings of the hero, the depiction of his deep inner metamorphoses (point 3) appears in Broussig's novel not as self-knowledge and the search for truth, but as a demonstration of the fundamental inadequacy of the thoughts and feelings of a typical inhabitant of socialist society. The hero is not really a deep personality in front of us, although he tries in every possible way to convince the reader of the opposite. Most of the pages of the novel are filled with a truly Kafkaesque spirit, and Klaus Ultzsta's feelings about the absurd reality surrounding him also border on absurdity. To a certain extent, the novel retains the stylistic range of the protagonist (point 4) and episodes of his gaining true knowledge about the world (point 5), however, here, too, the transformation of the genre is noticeable. In some places, the author suggests to the reader that Klaus Ultzsta's confession is far from conscious, not natural, but forced, due to the special investigations of the MGB activities carried out after the fall of the Berlin Wall. In other episodes, he turns the confessionality of the narrative into a conscious play for the audience, which is so typical, for example, for descriptions of Klaus's childhood and adolescence (remember here at least his self-definition - "Klaus das Titelbild"!). Finally, let us point out that the principal thing for the author is not the insight of the protagonist at the end of the narrative, not his gaining some kind of stable knowledge about the world, or experiencing the situation of the consciousness split by the epoch. The very becoming linear time of the "upbringing novel" (point 6) unexpectedly unfolds here (in a semantic sense), and an open finale arises, filled with painful retrospective immersions of the hero into the past.

Genre metamorphosis also takes place in Kumpfmüller's novel The Flight of Hampel. The work covers the entire life of the hero, stretching from childhood to the death of Heinrich Hampel, narrating about the years of his growing up and first love, about his search for himself and his place on earth, about numerous attempts to gain stability in existence. It is easy to identify the stages of his biography, but such a gradual, gradual narrative only indirectly resembles an important mode of spiritual development in the "novel of upbringing." We can observe how the hero changes, and sometimes these changes are unusual for himself 14, but Hampel never goes from an unenlightened, profane state to a state of enlightenment. The comprehension of his own blessing does not evoke in him a real need to educate others.

Michael Kumpfmüller realizes in the genre form of a "novel of education" the vision of human destiny, characteristic of the late 20th century; and this author's aspiration makes noticeable changes in the form. The hero here acts as a victim, and not an active creative force, independently choosing a way of communicating with the world around him. He cannot be called a typical conformist, because he also knows how to subordinate circumstances to himself, to benefit from what is happening. And at the same time, all of Hampel's "activity" comes down to achievements at the everyday level: the ability to get a scarce product, the ability to make friends with the right people ... In the episodes where Hampel begins to "preach" his worldview, the satirical content of the novel is instantly revealed: the author every time it emphasizes the collapse of the hero's independence (remember the hope, cut off by the state, is personal happiness with the Russian girl Lyusya, the shameful fiasco in the ideological dispute with his brother Theodore, etc.).

Bitterly satirical comprehension of the pages of the recent past, projecting itself onto the understanding of the entire human history of the 20th century, leads to the fact that the figure of the Teacher, a kind mentor who helps the hero on the path of knowledge, disappears from both works in a characteristic way. With a conscious focus on ridicule the dark pages of the past, this also sees a sad summing up of the results of the century. It is no coincidence that at different moments of the narrative the figure of the Teacher is replaced by characters who personify the system in the grip of which the character is clamped. In Heroes Like Us, they are the faceless schoolteachers, Eberhard Ulzst, one of the top state security officers, Major Wunderlich and Hauptmann Grabe, Klaus's colleagues in the Stasi. In "The Flight of Hampel" - this is a friendly employee of the special services Harms, "comrade" Gisela Müller, the party management of the plant where the Hampel family works ... "Education" from the side of the system, which actually grinds the personality, - this turns out to be in the 1990s. a characteristic vision of human "discipleship".

NF Kopystyanskaya, reflecting on the structural nature of the literary genre, rightly emphasized its duality: general theoretical stability and at the same time the variability that opens up "in continuous historical development and national identity." Awareness of this duality is fundamentally important for our research. The changes in the artistic form of the "upbringing novel" were caused precisely by the uniqueness of the 1990s. as a new literary era, which has put forward "its aesthetic requirements in direct and indirect dependence on socio-political circumstances."

NotesI am.

1 Scalla M. Da hat etwas angefangen / M. Scalla // Der Freitag. - 2002. - No. 6. - Rez. zu: Der Bildverlust oder Durch die Sierra de Gredos / P. Handke. - Frankfurt a. M .: Suhrkamp, ​​2002 .-- 760S. - (http: //www.freitag. de / 2002/06/02061402. php).

2 Further, A. Dugin refers to Baudrillard: “Baudrillard calls it“ post-history, ”the era when the“ sign ”ceases to be clearly interdependent on the“ signified. ”In other words, in the previous phase of history, the“ sign ”necessarily indicated something, even though something was floating and elusive, variable, but having some constant limits, therefore, any discourse was amenable to a fairly unambiguous interpretation, although it could be carried out at different levels. " See: Is the concept of style relevant today? (Poll) // Russian magazine. - 2002 .-- March 22. - (http: //www.russ.ru/culture/20020322zzz.html).

3 Cit. Quoted from: WichmannH. Von K. zu Karnau: Ein Gespräch mit Marcel Beyer über seine literarische Arbeit (2O. August 1993) / H. Wichmann. - (http: //www.thing, de / neid / archiv / sonst / text / beyer.htm).

4 Korte G. German lyrics from 1945 to the present day / G. Korte // Arion. - 1997. —№4. - (http: // magazines. Russ. Ru / arion / 1997/4/99. Html).

5 Diickers T. Close that gap! Berliner Literaturszene high and low / T. Diickers // Hundspost: Hamburger Literaturzeitschrift. - Herbst 1998 .-- (http: //www.tanjadueckers. De).

6 For example, E. Sokolova's remark is fair: “The very concept of pop literature in the Fiedler sense has faltered - many of its elements were borrowed by the entertainment industry, and some representatives - Reinald Goetz (1954), Andreas Neumaster (1959), Thomas Meinecke (1955) , - on the contrary, they got the opportunity to publish in the publishing house "Zurkamp", the most authoritative in the "high" culture of Germany, and thus moved on to "serious" literature. are now used only to the extent that they can increase circulation. As a result, at the turn of the century, there was an increased tendency to use this term for entertainment literature altogether, ignoring the initial priority of a critical attitude towards traditional forms. " Cm.: .

7 We use the words "so-called" because of the noticeable vagueness, blurring of this literary phenomenon. There is a lot of debate about its essence, notable, for example, is the situation of mutual discrepancy, misunderstanding between theorists of "pop literature" who write about it in special editions, and writers - "practitioners" who formed in 1999. the pop cultural quintet "Tristesse Royale". See, for example, an interview with I. Bessing, held on the anniversary of the literary group:.

8 See: Is the concept of style relevant today? ...

9 One of the visitors to this website.

10 "Gibt es aber denn nun wenigstens eine eigene Netzliteratur? Wahrscheinlicli, so muss man das Berliner Treffen bilanzieren, gibt es hochstens Literatur im Netz. Die aber reiclilich. Immer mehr Autoren basteln sich eine direkie. Alle hoflen Homepage. Alle hoflen durchkommen zu können.Bei Martin Auer aus Wien sieht die Homepage aus wie ein Warenhauskatalog.Vom Roman bis zur Lyrik und dem rauchigen Chanson kann man alles abrufen.Meist ist das Angebot aber alles andere als erhebend.Mag sein pool, dass s hinter nktiven Identitäten niclit nur verstecken, sondern in die Literatur hineinproben. Doch wer Null und pool im Netz anklickt, wird sich schnell wieder aus dem digitalen Staub machen ob der vielen, gahnend langweiligen Privatstreitereien. Wenn Krai Oswald über die Einsamkeit des Schriftstellers, Thomas Meinecke und Helmut Krausser iiber den Kosovo - Rrieg streiten, spricht das zwar dafür , dass man im Netz unmittelbarer und beweglicher kommunizieren kann. Das kann man aber auch iibertreiben. Auf die Dauer bieten solche Jetzt — ist — Jetzt — Absonderungen beleidigter Leberwürste wie Maike Wetzel Nirvana, die sich am 5. 9. 99 um 14:12:22 iiber die "Verbal — Attacken von dieser München — Tussi Katrin" auflesregt, wensig anuflesregt, wensig Lesefutter "". Natürlich beeinilusst das Medium den Text. Der verfliissigt sich zu beiläufigen Mitteilungen mit begrenzter Haltbarkeit. Furs Netz greifen Autoren schneller zu bildschirmkompatiblen Kurzformen wie Aphorismen. Am meisten wandelt sich aber der Autorenbegriff. So wie im Netz Texte herumgerückt werden, verliert der Autor die Hoheit dariiber, wird selbst zum Lektor, gar Zensor, wenn er die Gästebücher seiner Homepage kontrolliert. Mancher ist noch direkter. Martin Auer fragt seine Homepage — Besucher am Ende seiner ausgestellten Romanentwürfe in einem Fragebogen: "Haben Sie sich gelangweilt? Wenn ja, an welchen Stellen?" Erschrocken sah die Wiesbadener Autorin Christine Eichel schon das "Plebiszit der Leser" den solipsistischen Autor verdrängen ".

See: Arendl. Haben Sie sich gelangweilt? / I. Arend // Der Freitag. - 1999 .-- 17. September. - (http: //www.freitag. De / 1999/38/99381502. Htm).

11 Definition by E. Sokolova.

12 So, considering the history of the creation of his story "The Trajectory of the Crab", assessing the nuances of the socio-political situation that arose in Europe at the end of the century, S. Margolina comes to an interesting conclusion: “The last decade was marked by a surge of ethnic cleansing around the world. Srebrenica's nightmare Undoubtedly, Germany's consent to NATO action was the result of historical responsibility for the Holocaust, a symbol of faith in the formula “never again Auschwitz.” As soon as publicly comparing the expulsion of the Kosovars with the extermination of Jews, the voices of critics of the bombing died down. This is not the place to discuss legitimacy bombings or the legitimacy of the comparison, but it is necessary to point out the paradox of such a comparison in the context of the “understanding” we are describing, because it is this that relativates the Holocaust, puts it in a number of other events and makes it an integral part of global history. against which everything is difficult her "comprehension" began to be kept at the same level. Politically, the government’s move to Berlin, the creation of the new Berlin Republic and the imminent enlargement of the EU required a “normalization” of relations with all former victims, the final payment of all bills. The countries of Central Europe began their own "comprehension" of history, including the post-war deportation of Germans. In this atmosphere, it would be politically shortsighted to pretend that there is no problem of German refugees. At the same time, the global context of "sacrificial culture", which began with the Holocaust, but soon adopted by a wide variety of minorities - sexual, ethnic and anyone else wishing to join this, in many respects convenient, category, is beginning to emerge more and more. Jews have to make room. German exiles are thus given the opportunity to enter on an equal footing in the international community of victims and to demand respect for their suffering. In such a global situation, Gunther Grass turns out not to be an infringer on a taboo, but a representative of the mainstream, who was almost late for the distribution of elephants. In an effort to retain the title of the nation's conscience at any cost, he creates a banal work in which many even saw a transparent political overarching task: on the eve of the elections, to attract the sympathy of the exiles and their sympathizers for the ruling Social Democratic Party, which has found itself in a dead end, the political homeland of Grasse. If this is really so, then such instrumentalization of a previously taboo topic not only does no honor to the writer, but is also a true symptom of meaninglessness, devaluation of his emotional and ethical overvalue "(our italics. - D. Ch.).

See: S. Margolina, The End of a Beautiful Era. On the German experience of comprehending national socialist history and its limits / S. Margolina // Emergency reserve. - 2002. —№22. - (http: // magazines. Russ. Ru / nz / 2002/22 / mar. Html).

13 This "natural beginning" is noticeably manifested in the construction of such works of 1990 as "Resistance" by Z. Lenz, "South of Abisko" by K. Böldl.

14 So, having met Bella, one of his mistresses, Hampel honestly admits: "Before you, I knew nothing about myself." Cm.: .

LITERATURE

1. Bakhtin M. M. Novel of education and its significance in history / M. M. Bakhtin // Aesthetics of verbal creativity. - M., 1979 .-- S. 188-236.

2. Grass G. Trajectory of the crab / G. Grasse. - M .: ACT; Kharkov: Folio, 2004 .-- 285 p.

3. Kopystyanskaya NF The concept of "genre" in its stability and changeability / N. F. Kopystyanskaya // Context. 1986: Literary theoretical studies. - M., 1987 .-- S. 178-204.

4. Sokolova E. From East to West and back. Literature of Germany after unification / E. Sokolova // Foreign. lit. - 2003. -No. 9. - (http: // magazines. Russ. Ru / inostran / 2003/9).

5. Brussig Th. Helden wie wir / Th. Brussig. —Frankfurt am Main: Fischer Taschenbuch Verlag, 1998. -325 S.

6. Kumpfmuller M. Hampels Fluchten / M. Kumpfmüller. - Köln: Kiepenheuer & Witsch, 2000 .-- 494S.

7. StemmerN. T. Interview mit Joachim Bessing, Herausgeber von "Tristesse Royale" / N. T. Stemmer. - (http: //www.pro—qm. De / Veranstaltungen / tristesse / tristesse. Html).