Boris Vasiliev and the dawns here are quiet analysis. “War is not a woman’s business”

War is no place for a woman. But in an effort to defend their country, their fatherland, even representatives of the fair half of humanity are ready to fight. Boris Lvovich Vasiliev in the story “The Dawns Here Are Quiet...” was able to convey the difficult fate of five female anti-aircraft gunners and their commander during the second war.

The author himself claimed that a real event was chosen as the basis for the plot. Seven soldiers who served on one of the sections of the Kirov Railway were able to repel the Nazi invaders. They fought with the sabotage group and prevented the bombing of their site. Unfortunately, in the end only the squad leader remained alive. He will subsequently be given a medal “For Military Merit”.

The writer found this story interesting, and he decided to put it on paper. However, when Vasiliev began writing the book, he realized that in the post-war period many exploits were covered, and such an act was only a special case. Then the author decided to change the gender of his characters, and the story began to sparkle with new colors. After all, not everyone decided to cover women’s lot in the war.

Meaning of the name

The title of the story conveys the effect of surprise that befell the heroes. This junction, where the action took place, was a truly quiet and calm place. If in the distance the occupiers were bombing the Kirov Road, then “here” harmony reigned. Those men who were sent to guard him were drinking themselves to death, because there was nothing to do there: no battles, no Nazis, no missions. Like in the rear. That is why the girls were sent there, as if knowing that nothing would happen to them, the area was safe. However, the reader sees that the enemy was only letting his guard down while planning an attack. After the tragic events described by the author, all that remains is to bitterly complain about the failed justification for this terrible accident: “And the dawns here are quiet.” The silence in the title also conveys the emotion of mourning - a minute of silence. Nature itself mourns, seeing such an outrage against man.

In addition, the title illustrates the peace on earth that the girls sought by giving their young lives. They achieved their goal, but at what cost? Their efforts, their struggle, their cry with the help of the conjunction “a” is contrasted with this blood-washed silence.

Genre and direction

The genre of the book is a story. It is very small in volume and can be read in one sitting. The author deliberately removed from the military everyday life, which was well known to him, all those everyday details that slow down the dynamics of the text. He wanted to leave only emotionally charged fragments that evoke a genuine reaction from the reader to what he read.

Direction: realistic military prose. B. Vasiliev tells the story of the war, using real life material to create the plot.

The essence

The main character, Fedot Evgrafych Vaskov, is the foreman of the 171st railway district. It is calm here, and soldiers arriving in this area often start drinking from idleness. The hero writes reports on them, and eventually they send him anti-aircraft gunner girls.

At first, Vaskov does not understand how to deal with young girls, but when it comes to military operations, they all become a single team. One of them notices two Germans, main character understands that these are saboteurs who are going to go secretly through the forest to important strategic objects.

Fedot quickly assembles a group of five girls. They follow a local trail to get ahead of the Germans. However, it turns out that instead of two people there are sixteen fighters in the enemy squad. Vaskov knows that they cannot cope, and he sends one of the girls for help. Unfortunately, Lisa dies, drowning in a swamp and not having time to convey the message.

At this time, trying to deceive the Germans by cunning, the detachment tries to take them as far as possible. They pretend to be lumberjacks, shoot from behind boulders, and find a German resting place. But the forces are not equal, and during the unequal battle the rest of the girls die.

The hero still manages to capture the remaining soldiers. Many years later, he returns here to bring a marble slab to the grave. In the epilogue, the young people, seeing the old man, understand that it turns out there were battles here too. The story ends with a phrase from one of the young guys: “And the dawns here are quiet, quiet, I only saw them today.”

The main characters and their characteristics

Fedot Vaskov- the only survivor of the team. Subsequently he lost his arm due to injury. Brave, responsible and reliable person. He considers drunkenness in war unacceptable and zealously defends the need for discipline. Despite complex nature girls, cares about them and is very worried when he realizes that he did not save the fighters. At the end of the work, the reader sees him with his adopted son. Which means that Fedot kept his promise to Rita - he took care of her son, who became an orphan.

Images of girls:

Elizaveta Brichkina- a hardworking girl. She was born into a simple family. Her mother is sick and her father works as a forester. Before the war, Lisa was going to move from the village to the city and study at a technical school. She dies while carrying out the order: she drowns in the swamp, trying to lead soldiers to help her team. Dying in a quagmire, she does not believe until the last that death will not allow her to realize her ambitious dreams.
Sofia Gurvich- ordinary soldier. Former student of Moscow University, excellent student. She studied German and could be a good translator; she was predicted to have a great future. Sonya grew up among a friendly Jewish family. He dies trying to return a forgotten pouch to the commander. She accidentally meets the Germans, who stab her to death with two blows to the chest. Although she did not succeed in everything during the war, she persistently and patiently fulfilled her duties and accepted death with dignity.
Galina Chetvertak- the youngest of the group. She is an orphan, grew up in orphanage. He goes to war for the sake of “romance”, but quickly realizes that this is not a place for the weak. Vaskov takes her with him for educational purposes, but Galya cannot withstand the pressure. She panics and tries to run away from the Germans, but they kill the girl. Despite the heroine's cowardice, the foreman tells the others that she died in a shootout.
Evgenia Komelkova- a young beautiful girl, the daughter of an officer. The Germans capture her village, she manages to hide, but her entire family is shot before her eyes. During the war he shows courage and heroism, Zhenya overshadows his colleagues. First she is wounded, and then shot at point-blank range, because she led the detachment towards herself, wanting to save the rest.
Margarita Osyanina- junior sergeant and commander of a squad of anti-aircraft gunners. Serious and sensible, she was married and has a son. However, her husband dies in the first days of the war, after which Rita began to hate the Germans quietly and mercilessly. During the battle, she is mortally wounded and shoots herself in the temple. But before his death he asks Vaskov to take care of his son.

Themes

Heroism, sense of duty. Yesterday's schoolgirls, still very young girls, go to war. But they do this not out of necessity. Each comes of her own free will and, as history has shown, each invested all her strength to resist the Nazi invaders.
Woman at war. First of all, in B. Vasiliev’s work, the fact that the girls are not in the rear is important. They, along with men, fight for the honor of their homeland. Each of them is a person, each had plans for life, her own family. But cruel fate takes it all away. The protagonist says that war is terrible because, by taking the lives of women, it destroys the life of an entire people.
Feat little man . None of the girls were professional fighters. These were ordinary Soviet people with different characters and destinies. But the war unites the heroines, and they are ready to fight together. The contribution of each of them to the struggle was not in vain.
Courage and boldness. Some heroines especially stood out from the rest, showing phenomenal courage. For example, Zhenya Komelkova saved her comrades at the cost of her life, turning the persecution of enemies on herself. She was not afraid to take risks, as she was confident of victory. Even after being wounded, the girl was only surprised that this happened to her.
Homeland. Vaskov blamed himself for what happened to his charges. He imagined that their sons would rise up and reproach the men who could not protect the women. He did not believe that some White Sea Canal was worth these sacrifices, because it was already guarded by hundreds of soldiers. But in a conversation with the foreman, Rita stopped his self-flagellation, saying that his patronymic name was not the canals and roads that they protected from saboteurs. This is all Russian land that required protection here and now. This is how the author represents his homeland.

Problems

The issues of the story cover typical problems from military prose: cruelty and humanity, courage and cowardice, historical memory and oblivion. She also conveys a specific innovative problem - the fate of women in war. Let's look at the most striking aspects using examples.

The problem of war. The struggle does not decide who to kill and who to leave alive; it is blind and indifferent, like a destructive element. Therefore, weak and innocent women die by chance, and the only man survives, also by chance. They are facing an unequal battle, and it is quite natural that no one had time to help them. These are the conditions of wartime: everywhere, even in the quietest place, it is dangerous, destinies are breaking everywhere.
Memory problem. In the finale, the foreman comes to the scene of a terrible massacre of the heroine’s son and meets young people who are surprised that fighting took place in this wilderness. Thus, the surviving man perpetuates the memory of the dead women by installing a memorial plaque. Now descendants will remember their feat.
The problem of cowardice. Galya Chetvertak was unable to cultivate the necessary courage, and with her unreasonable behavior she complicated the operation. The author does not blame her strictly: the girl was already brought up in difficult conditions, she had no one to learn how to behave with dignity. Her parents abandoned her, afraid of responsibility, and Galya herself was afraid at the decisive moment. Using her example, Vasiliev shows that war is not a place for romantics, because the struggle is always not beautiful, it is monstrous, and not everyone can withstand its oppression.

Meaning

The author wanted to show how Russian women, who have long been famous for their willpower, fought against the occupation. It is not for nothing that he talks about each biography separately, because they show what trials the fair sex faced in the rear and on the front line. There was no mercy for anyone, and in these conditions the girls took the enemy’s blow. Each of them made the sacrifice voluntarily. In this desperate tension of the will of all the people's forces lies the main idea of Boris Vasiliev. Future and present mothers sacrificed their natural duty - to give birth and raise future generations - in order to save the whole world from the tyranny of Nazism.

Of course main idea the writer’s humanistic message: women have no place in war. Their lives are trampled by heavy soldiers' boots, as if they come across not people, but flowers on their way. But if the enemy encroaches on native land, if he mercilessly destroys everything that is dear to his heart, then even a girl is able to challenge him and win in an unequal struggle.

Conclusion

Each reader, of course, draws the moral conclusions of the story independently. But many of those who have thoughtfully read the book will agree that it talks about the need to preserve historical memory. We need to remember the unimaginable sacrifices that our ancestors voluntarily and consciously made in the name of peace on Earth. They went into a bloody battle to exterminate not only the occupiers, but also the very idea of Nazism, a false and unjust theory that made possible many unprecedented crimes against human rights and freedoms. This memory is needed so that the Russian people and their equally brave neighbors understand their place in the world and its modern history.

All countries, all peoples, women and men, old people and children were able to unite for a common goal: the return of a peaceful sky above their heads. This means that today we “can repeat” this unification with the same great message of goodness and justice.

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Library
materials

Content.

Introduction…………………………………………………………………………………..…..3

ChapterI. The problem of studying B. Vasiliev’s story “And the dawns here are quiet...” in scientific and school literary criticism.

Programs…………………………..……………………………………………………….…..…17

Textbooks………………………………………………………………………………………………21

1.8 Age-related characteristics of perception by high school students fiction…………………………………………………………………………………….…22

ChapterII. Extracurricular reading lesson on Russian literature in 11th grade on the topic: “B. Vasiliev “And the dawns here are quiet...”……………………………………………………………...……….….. 24

Conclusion…………………………………………………………………………..……....28

Bibliography…………..………………………………………………………………………………...……..…30

Bibliography.

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Balagurova M.I.. Integrated lessons as a way to form a holistic perception of the world. “Open lesson”, 2003-2004 academic year.

Bartkovskaya A. The moral power of good: [about the work of B. Vasiliev] / A. Bartkovskaya. - Literature at school. - 1974. - No. 1. - P. 11-18

Bogdanova O.Yu. Methods of teaching literature: A textbook for university students studying pedagogy. specialties. M., 2003.

Vasiliev B. Boris Vasiliev: where are we all from...: [conversation with the writer] / B. Vasiliev; T. Arkhangelskaya wrote down // Literary newspaper. - 1982. - February 17. - P. 6.

Vasiliev B.L. Tomorrow there was a war; And the dawns here are quiet...: stories / B.L. Vasiliev; [artist: V.F. Reznikov]. - M.: Politizdat, 1991. - 349 p.

Kulnevich S.V., Lakotsenina T.P. Modern lesson. Publishing house "Teacher", 2006.

Polotovskaya I.L. The lists included: Vasiliev B.L.: [biography, creativity, bibliography, scenography] / I.L. Polotovskaya // Bibliography. - 2005. - No. 2. - P. 75-88.

Rogover E.S. Russian literature of the twentieth century: To help school graduates and applicants. St. Petersburg, Paritet, 1999.

Russian literature of the twentieth century. Grade 11: Lesson developments. Methodological recommendations for teachers / V.V. Agenosov, E.L. Beznosov, N.S. Vygon, etc.; Ed. V.V. Agenosova. M.: Bustard, 2000.

Russian literature of the twentieth century. Grade 11: Textbook for general education institutions. In 2 parts. Part 2. / Ed. V.V. Agenosova. M.: Bustard, 1999.

Russian literature of the twentieth century. Grade 11. Textbook for general education institutions. In 2 parts. Part 2. / Ed. V.P. Zhuravleva. M.: Education, 1999.

Russian literature of the twentieth century. 11th grade: Workshop textbook for general education. institutions / Ed. Yu.I.Lyssogo. M.: Mnemosyne, 2003.

Russian literature of the twentieth century. Second half. Grade 11. Issue 1. / Ed. L.G. Maksidonova. M., 2002.

Tesemnitsina M.S. The story of B. Vasiliev “And the dawns here are quiet...” in extracurricular reading lessons / M.S. Tesemnitsina // Literature at school. - 1974. - No. 1. - P. 50-61.

Audiobook by B. Vasilyev “And the dawns here are quiet...”(Author of the annotation: Igor Yakushko, read by: Alexey Rossoshansky, duration: 4 hours 49 minutes. recording format: mp3, quality: 64 kbps, volume: 130 MB, number of files: 24 mp3 files in 6 archive files).

Literature program (grades V – XI)./ Edited by V. Ya. Korovina.// Enlightenment.- 2006.- P.127.

Literature program (grades V – XI)./ Edited by A.G. Kutuzov.// Enlightenment.- 2007.- P.84.

Literature program (grades V – XI) for schools and classes with in-depth study of literature, gymnasiums and humanities lyceums. Edited by M.B. Ladygin.

Literature: literature program for general education institutions. 5-11 grades / T.F. Kurdyumova, N.A. Demidova, E.N. Kolokoltsev and others; edited by T.F. Kurdyumova. M., 2005.

Asmus V.F. Questions of theory and history of aesthetics. M., 1969.

Bozhovich L.I. Personality and its formation in childhood. M., 1968.

Introduction.

The changes taking place in our society require a shift in the emphasis of school education from the acquisition of knowledge to the development of key competencies, that is, the ability to solve complex life-oriented problems.

Integration of subjects at school is one of the areas of active search for new pedagogical solutions that will facilitate the transition to a competency-based model of education and will update its structure and content.

Integration involves eliminating the contradictions between the rapidly growing volume of knowledge and the ability to assimilate it. It helps to overcome the fragmentation and mosaic nature of students’ knowledge, ensures their mastery of complex knowledge, a system of universal human values, and serves to form a systematically holistic view of the world.

In conditions of rapid growth in the volume of information, the ability to perceive and comprehend it sharply decreases. The solution is seen in the assimilation of structured knowledge, which represents a certain complex, a system. The future of the school is connected with the synthesis of different academic subjects, and above all the subjects of the humanities cycle, the development of integrated courses, the interconnection and interpenetration of all school disciplines. Ideas of integration are increasingly penetrating school practice. Nowadays it is no longer a surprise to see lessons in which different subjects are combined.

In accordance with modern challenges reforming secondary education, one of the priority goals of the educational process is the formation of an individual capable of perceiving cultural phenomena not as an object, but from the position of a subject, that is, to actualize the accumulated cultural potential in one’s own communicative practice.

The main value of an individual is the ability to develop, the presence of cognitive potential. The need to know is the main component of human spirituality, along with the need to do good and be compassionate. “A reasonable person - and only he is able to optimally determine the future of humanity, and not predetermine its death by his activities” (V. Vernadsky). The process of cognition is endless, and the “modern achievements” of science are only achievements of a specific period of time that will continue in the future.

The problem of integrating educational information in teaching in this work is examined using the example of B. Vasilyev’s story “And the dawns here are quiet...” (as a review topic in 11th grade).

The urgency of the problem is that modern schools Integrative lessons are very often used (this is a special type of lesson that combines training in several disciplines simultaneously when studying one concept, topic or phenomenon).

Analyzing the literature on this issue, we can formulate the following definition of integration: integration is a natural interconnection of sciences, academic disciplines, sections and topics of academic subjects based on the leading idea and leading provisions with a deep, consistent, multifaceted disclosure of the processes and phenomena being studied. Therefore, it is necessary not to combine different lessons, but to supplement the material of one subject with the material of another, combining selected parts into a single whole. Moreover, with any combination of material, the idea of the subject to which the lesson is devoted should remain leading, basic.

Object scientific learning is the problem of integrating educational information. To do this, I reviewed the story by B. Vasiliev “And the dawns here are quiet...” in the interpretation of S. Rostotsky (in the two-part film of the same name), Mao Weinin (in the 20-episode series of the same name), Alexei Rossoshansky (in the audiobook) and a school textbook for grade 11 .

Subject This study is the story of B. Vasiliev “And the dawns here are quiet...”. Choice of this work due to many reasons. Firstly, this is a work by a great artist who is known and appreciated all over the world. The story is a “clump” of ideas that are personally significant for the writer. Secondly, “And the Dawns Here Are Quiet...” accumulates eternal, socially significant questions about the history of war, about the meaning of existence, about a person’s responsibility for society, and examines the problem of the Russian national character in the tragic context of the era of the Great Patriotic War.

The topic of this work poses the following to the researcher: target: to formulate students’ skills comprehensive analysis literary text in the unity of content and form using various integrated means - audio, video recordings and literary text.

To achieve the goal, the following have been put forward: tasks.

Analyze the story in the unity of content and form;

Trace the relationship of the story with other forms of art (cinema, audio recording);

To characterize the age-related characteristics of high school students’ perception of fiction;

Develop a system of lessons for studying B. Vasiliev’s story “And the dawns here are quiet...”.

In accordance with the object of the study, the following were used to solve the problems: methods:

system analysis scientific literature at the interdisciplinary level;

design and modeling of the pedagogical process.

Practical significance work is that the application of this thematic planning by studying B. Vasiliev’s story “And the dawns here are quiet...” will allow:

to increase the level of students’ knowledge of the works of B. Vasilyev and - in particular - of the story “And the dawns here are quiet...”;

to develop the skills of a holistic analysis of the features of the writer’s artistic method using the example of the work “And the dawns here are quiet...”;

develop creative potential student’s personality through the use of active learning methods.

Conclusion

Implementation of multi-level integration in teaching practice convinces us that the very ideas of integration in improving the teaching and educational function are very fruitful.

Firstly, the knowledge acquired in integrative lessons acquires systematicity, becomes generalized and complex.

Secondly, the ideological orientation of students’ cognitive interests is strengthened, their conviction is more effectively formed and comprehensive personal development is achieved.

Thirdly, an integrative lesson creates an atmosphere of cooperation and search, encourages dialogue, and contributes to the formation of imaginative thinking in students.

Fourthly, integrative lessons demonstrate to students the unity of processes occurring in the world around us and allow them to see the interdependence of various sciences.

In this work, a pedagogical model was created for the review topic “Integrative lesson in literature and cinematography in 11th grade. The depiction of a woman’s feat in war in the story by B.L. Vasilyeva “And the dawns here are quiet...”, implementing a cultural approach to a literary work and aimed at developing the skills of a holistic analysis of a literary text. The philological and methodological model is universal, that is, it can be applied to the design of a lesson system on any other epic work of the 11th-20th centuries. Its implementation in the educational process will improve the quality of students’ oral responses, help schoolchildren understand the material more deeply, activate thinking, increase motivation to perform creative tasks, more easily assimilate and remember theoretical and literary concepts, understand the logical and conceptual relationships between them, improve classification skills and systematize information, develop associative thinking, and creative skills.

Philological and pedagogical tasks for the formation of practical skills in working with literary text are solved based on the latest achievements of literary and methodological science and appear modern, relevant, and promising.

Chapter I. The problem of studying the story by B. Vasiliev“And the dawns here are quiet...” in scientific and school literary criticism.

VASILIEV BORIS LVOVICH

(b. 1924)

Vasiliev Boris Lvovich - prose writer, screenwriter, playwright. Studied at a city school without having special success. In the summer of 1941, two weeks after the start of the war, he went to the front straight from school. He was seriously wounded at the front, but by 1943 Boris Vasiliev’s condition had improved and he was recovering. After the end of the war, he decided to follow in his father’s footsteps and entered the Academy of Armored Forces, but the craving for creativity took over. Participant of the Great Patriotic War. By profession, he is a military test engineer. Until demobilization (1954) he remained a career military man. The experience of the war formed the basis of almost all of his works, starting with the play “Officer” (1955), staged at the Central Academic Theater of the Soviet Army and the story “And the Dawns Here Are Quiet...” (1969), which brought him wide fame and became a kind of a “classic” work in prose about the Great Patriotic War (awarded the State Prize, filmed in 1972; director - S. Rostotsky). Before this story (and after it), Vasiliev worked a lot in cinema, creating several film scripts, including those based on his own works. Since 1960 he has been a member of the Union of Cinematographers of the USSR.

B. Vasiliev's talent is most clearly revealed in the theme of the Great Patriotic War. The novel “Not on the Lists” (1974) - about the last, unknown defender of the Brest Fortress; lyrical-dramatic narrative “Tomorrow there was war” (1984) - about the young generation plunged into the abyss of suffering.

Tragedy is also characteristic of works dedicated to peacetime - the novel “Don’t Shoot the White Swans” (1975) and the autobiographical story “My Horses Are Flying...” (1984), the story “Once Upon a Time Klavochka” (1986), etc.

Boris Vasiliev is the author of works not only about the past war, but also about the distant past. The quests and paths of the Russian intelligentsia in the context of Russian history of the 19th and 20th centuries. - the main content of the novels “They were and were not” (1977-1980), “And there was evening, and there was morning” (1987), “Greetings to you from Baba Lera...” (1988; another title is “The same age as the century”), “Quench My Sorrows” (1997), “Gambler and Brewer, Gambler and Duelist: Notes of a Great-Great-Grandfather” (1998), “The House That Grandfather Built” (1991), largely built on the facts of the collective biography of Vasiliev’s own family.

The problems of the “time of troubles” (the historical “dead end” and the search for a way out of it) are central to Vasiliev’s historical novels “ Prophetic Oleg"(1996) and "Prince Yaroslav and his sons" (1997), "Olga, Queen of the Rus" (2002), "Prince Svyatoslav", "Alexander Nevsky". The writer raises similar questions in his numerous journalistic articles of the 1980s-1990s, calling for the establishment of the priority of national culture over politics.

In 1997, the writer was awarded the prize named after. HELL. Sakharov “For Civil Courage”, Prize of the President of the Russian Federation (1999), “Niki” in the nomination “For Honor and Dignity” (2003), Special Prize “For Honor and Dignity” of the literary award “Big Book” (2009).

Boris Vasiliev - honorary citizen of Smolensk (1994); awarded the Order of Merit for the Fatherland, II degree (July 14, 2004) - for outstanding services in the development of domestic literature and many years of creative activity; Order of Merit for the Fatherland, III degree (May 21, 1999) - for outstanding contribution to the development of Russian literature.

In response to criticism of the story “And the Dawns Here Are Quiet,” B. Vasiliev writes: “I am not Vaskov, although I resemble him to many.” Undoubtedly, the writer reflected his feelings in the dialogue:

While there is war, that’s understandable. And then, when will there be peace? Will it be clear why you had to die? Why didn’t I let these Krauts go further, why did I make this decision? What to answer when they ask: why couldn’t you, men, protect our mothers from bullets?...

“No,” she said quietly, “the homeland doesn’t start with the canals.” Not from there at all. And we protected her. First her, and then the channel.”

1.2. A holistic analysis of B. Vasiliev’s story “And the dawns here are quiet...” in the unity of content and form. Character system.

Uncompressed rye swings,

The soldiers are walking along it.

We too, girls, are walking,

Look like guys.

No, it’s not houses that are burning -

My youth is on fire...

Girls go to war

Look like guys.

Y. Drunina “Oh, roads”

Woman and war - are these concepts compatible? The feat, its facets, its humanistic essence is the goal of my research.

“Our cause is just. The enemy will be defeated. Victory will be ours!" With this faith, the Soviet people went through the most terrible war that humanity has ever experienced. Millions of Soviet people gave their lives for a just cause, for the Soviet people to be free and happy. They all wanted to live, but they died so that people could say: “And the dawns here are quiet...” Quiet dawns cannot be in tune with war, with death. They died, but they won, they didn’t let a single fascist through. They won because they selflessly loved their Motherland.

The role of women in war is great. Women doctors and nurses, under shelling and gunfire, carried the wounded from the battlefield, provided first aid, sometimes at great cost. own life rescued the wounded. Separate women's battalions were organized. My work is dedicated to girl fighters of harsh times.

It is no coincidence that Boris Vasiliev made the girls the heroes of his story in order to show how cruel the war is. After all, women are the beginning of all life. Murder of women is more than a crime.

B. Vasiliev’s story “And the dawns here are quiet…” is about war and ruthless battles in which the bodies of thousands of soldiers fell to the damp earth, singing “a farewell ode to memory with a divine voice.”

On the horizon of quiet dawns, militantly awaiting the enemy: Rita Osyanina, Zhenya Komelkova, Galya Chetvertak, Lisa Brichkina, Sonya Gurvich and their courageous foreman Vaskov. Enjoying the coolness of a calm evening, the heroes do not suspect that they will be the last in their lives. And these historical declines will be bright lines in their biography, because they showed ingenuity when they played the role of lumberjacks and ordinary villagers... Who would have known that these masterful roles would become the first spurts of victory...

Each of the heroes had their own life path, fate, unfulfilled dreams, aspirations, but they were merged together horrible power war.

In this story, the author covers the most heart-wrenching issue - the problem of war. But is it only her? No! Firstly, we often say: “War!” how scary and cruel it is,” and at the same time we walk on humble ground, not remembering our protectors and protectors. Secondly, what was going on in their wounded souls, what emotions were burning at that exciting moment of battle? The author offers our consideration the problem of the psychological state of heroes during the war. Let's return for a moment to the pages of the past: the girls said goodbye to life one after another, as if everything was decided in one moment... When Sonya died, a terrifying picture stood before the eyes of Galya Chetvertak: “Sonya’s grey, pointed face, her half-closed, dead eyes and hardened with blood tunic. And... two holes on the chest. Narrow as a blade." A fiery battle broke out in Gali’s thoughts: a struggle of revenge and grief for the girls who were already close and dear. Her heart beat at an incredible speed, creating a melody of fearlessness and combat readiness. There was no place for tears here on the battlefield, because from now on these five fragile girls are fighters and defenders.

The story is set in May 1942. The place is the unknown 171st crossing. Soldiers of an anti-aircraft machine-gun battalion are on silent duty. These are fighters - girls. “And the dawns here are quiet...” And in this quiet, beautiful place, where it would seem that there is no war, five female anti-aircraft gunners, defending your homeland.

What is the unique character of each of the five girls, what makes each one unique?

Liza Brichkina grew up in the forest, understands nature, and is a sincere girl.

Galya Chetvertak is a delicate, romantic nature; I always thought that in war it is people who perform heroic deeds. A great dreamer, capable of transforming reality.

Sonya Gurvich is fragile, unprotected, smart and talented, reciting Blok’s poems “in a chant, like a prayer.”

Zhenya Komelkova is desperate, brightly beautiful, her beauty was admired by men, women, friends and even enemies.

Rita Osyanina is the only girl who has known the happiness of a married woman and mother. Her sense of duty is clearly expressed.

The girls are different, but they have one thing in common - the defense of the Motherland. They are not created for war, but they are forced to shoot.

Each of the girls has her own account with the Nazis: Rita Osyanina’s husband dies in a morning counterattack on the second day of the war. Zhenya’s mother, sister, brother were killed with a machine gun. The families of the command staff were captured and subjected to machine gun fire.” Sonya’s family ended up in occupied Minsk. Liza Brichkina lived in anticipation of happiness, and now, it seemed, it had found her - Liza feels it. But everything was destroyed by the outbreak of war. Galka Chetvertak believed in her fantasies, and perhaps they would have become reality, but the war prevented this.

It is also important to see what is inherent in all female anti-aircraft gunners. What is this? It is necessary to consider the scene of arrival at the patrol and the arrangement: (“And I was dumbfounded... for the last month.”, “And the anti-aircraft gunners began to recklessly hit... they will giggle until the fall.”).

Femininity. Kindness, love of life, charm, tenderness are common traits that are characteristic of girls.

There are many examples that demonstrate the above qualities:

Rita Osyanina shot down a German plane and shot the paratroopers. “The girls, screaming with delight, kissed Rita, she smiled with a pasted-on smile. She was shaking at night.”

Zhenya Komelkova, pursuing saboteurs together with Vaskov, saves him, killing the fascist with the butt of a rifle. “Zhenya suddenly dropped the rifle and, shuddering, went behind the bushes, staggering like a drunk. She fell to her knees there: she felt sick, vomited, and she, sobbing, kept calling for someone—her mother or something...”

These episodes show that girls take the death of their enemies hard. The enemy for them is, first of all, man. They are forced to kill - there is a war going on. They have no doubt whether they are doing the right thing by expressing their readiness to go into battle in territory where there are no front-line operations. After all, this is what unites them in common.

The feat is accomplished not only by girls, but also by Sergeant Major Vaskov. The concept of “evolution” is applicable to this hero.

Introducing the reader to Vaskov, B. Vasiliev resorts to direct author's characteristics(“Vaskov always felt older... in his worldview”), and to inappropriately direct speech (“Still, it’s a big hindrance that... Unless it’s an impolite bear”), and to excursions into the hero’s past (“Not long before the Finnish... for his ingenuity "). The sergeant major’s past explains a lot about him, about today. First of all, he considered it “a big hindrance that he is a person with almost no education,” although it was not his fault: “exactly at the end ... of the fourth (grade) his father’s bear broke and from the age of 14 he became both the breadwinner and drinker and breadwinner" in the family." “Vaskov felt older than he was.” And this in turn explains. Why was he a foreman in the army not only by rank, but also by his “senior essence,” which became a peculiar feature of his worldview. The author sees Vaskov’s seniority as a kind of symbol. A symbol of the supporting role of people like Vaskov, conscientious workers, hard workers in military life and in peacetime. The author writes: “... I saw the whole meaning of my existence in the punctual execution of someone else’s will.” He pedantically follows the regulations - this reveals the limited horizons of the foreman and often puts him in a funny position. The relationship between the foreman and the anti-aircraft gunners is difficult at first precisely because, from Vaskov’s point of view, the girls constantly violate the regulations, and, from the girls’ point of view, that Vaskov blindly follows the Regulations, without taking life into account. For them, he is “a mossy stump: he has twenty words in stock, and those are from the statutes.” The word Charter and other military terms never leave Vaskov’s tongue. Even expressing his impression of the piercing beauty of Zhenya Komelkova, he says: “The incredible power of the eyes, like a hundred and fifty millimeter howitzer gun.” The mortal battle with saboteurs became the test in which Vaskov’s character was revealed more deeply. To keep the girls’ spirits up, he must “attach a smile to his lips with all his might.” He imbues with sympathy and warmth for everyone’s grief, having gotten to know them better. Comparing them with misfortune and desire to win, Vaskov says: “What kind of foreman am I to you, sisters? I’m kind of like a brother now.” This is how the soul of the stern Vaskov is dealt with in battle, and the girls are imbued with respect for him.

But even more significant is another change in character. We see that Vaskov, by his habits, by his mentality, is a conscientious performer. Sometimes funny in his pedantry. And the situation in which he found himself required from him the ability to make decisions independently, guess about the enemy’s plans, and prevent them. And overcoming the initial confusion and apprehension, Vaskov acquires determination and initiative. And he does what in his position could be the only correct and possible thing. He reasons: “War is not just about who shoots whom. War is about who will change someone's mind. The charter was created for this purpose, to free your head, so that you can think into the distance, on the other side, for the enemy.”

Boris Vasiliev sees the basis for the spiritual transformation of the foreman in his primordial moral qualities, first of all, in the ineradicable sense of responsibility for everything in the world: for order on patrol and for the safety of government property, for the mood of his subordinates and for their compliance with statutory requirements. Thus, in the story “And the Dawns Here Are Quiet,” the connection between the conscientiousness, diligence of a hard worker and his ability for high civic activity is revealed.

…

The narration is conducted on behalf of the commandant of the patrol, Vaskov. The whole story is based on his memories. Within the framework of the post-war period, there is a narrative about the past horrors of an inhumane war. And this plays an important role in the ideological and artistic perception of the story. This story was written by a person who visited and went through the entire war, so it is all written believably and excitingly, with a vivid highlighting of all the horrors of war. The author devotes his story to the moral problem of the formation and transformation of the character and psyche of an individual in war conditions. The painful topic of war, unjust and cruel, the behavior of different people in its conditions is shown by the example of the heroes of the story. Each of them has his own attitude to the war, his own motives for fighting the Nazis, except for the main ones, and all of them different people. It is these soldiers, young girls, who will have to prove themselves in war; For some it’s their first time, and for others not. Not all girls show heroism and courage, not all remain firm and persistent after the first battle, but all girls die. Only the Basque sergeant-major remains alive and carries out the execution of the order to the end.

The theme of war is relevant at any time, because people die there. And the author, with the help of his talent and skill, was able to prove once again its relevance. The author describes all the hardships, injustices and cruelties with inimitable simplicity and brevity. But this does not harm the perception of the story. Scenes from the girls' lives are succinct and brief, but give a complete picture of each heroine. In his characters, the author shows different types of people, their behavior, and Vasiliev, in my opinion, does this especially well. Vasiliev is not just a writer, but a writer-psychologist. And he didn’t learn this from books, but life itself, or rather, the war, taught and helped him understand the psychology of people.

In my opinion, the work is written interestingly and convincingly, everything is truthful and natural. Every detail, starting with the description of the crossing, the forest, the roads and ending with the heroes and the scenes of their death, is important for a single, whole perception of the story. And Boris Vasiliev, it seems to me, did not exaggerate anywhere.

The whole story is written in an easy, colloquial language. Thanks to this, you can easily understand the thoughts of the characters and what they do. Against the backdrop of the terrible events of May 1942, this junction looks like a resort. At first it really was like this: the girls sunbathed, danced, and at night “excitedly fired at flying German planes with all eight guns.”

The depiction of nature is very interesting. Beautiful views. Drawn by the author. They highlight everything that is happening. Nature seems to look at people with pity and sympathy, as if saying: “Foolish children, stop.”

“And the dawns here are quiet...” Everything will pass, but the place will remain the same. Quiet, silent, beautiful, and only the marble gravestones will turn white, reminding of what has already passed. This work serves as an excellent illustration of the events of the Great Patriotic War.

The main idea of Vasiliev’s story is the invincibility of people fighting for the freedom of the Motherland, for a just cause.

Continued from one time to another, moving from epic to lyrical genres, from the pages of prose to the screen and stage - this theme resulted in a modest story by Boris Vasiliev. It aroused great reader and artistic interest. The performance by Yuri Lyubimov at the Taganka Theater, the film by Stanislav Rostotsky, their primary source - the story itself - formed a union different arts, concluded on a front-line patch, on plot material from the “second echelon”. Obviously, there was something about him that justified this interest and the effort expended.

The conflict in films about war is not limited to the firing line. It goes deep into characters subjected to severe tests. This general moral issue is inextricably linked with the choice of one or another directorial concept. Let's say - a temporary composition...

The film “The Dawns Here Are Quiet...” was produced by the film studio named after. M. Gorky under the direction of director S. Rostotsky in 1972.

In the film “And the Dawns Here Are Quiet...” one episode is called “In the Second Echelon”, the other is called “A Battle of Local Significance”. The headlines are clearly polemical. The front is reduced to a small northern village, where a platoon of female anti-aircraft gunners is quartered. Five of them make their last stand on a narrow isthmus between the lake and the forest. The geographic scale is emphatically small.

In one of his interviews, Stanislav Rostotsky said that while working on the film, he wanted to break free from the magic of large numbers that calculate the victims suffered by the people. Each victim had his own fate, his own battle, his own final frontier, and for each of them the whole war was contained in this little thing.

“The Dawns Here Are Quiet...” is not accidentally divided into two episodes. The first is peace, the second is war. Chronologically this is not the case: the film takes place in May 1942. And in the first episode there is a fight...

Lines of fire go up, machine-gun quadruples knock furiously, cartridges roll with a ringing sound, and the smoky trail of a fallen plane traces the sky. The battle is colorful, enchanting, unlike the war that will begin for anti-aircraft gunners not in the sky, but on swampy ground. In Boris Vasiliev's story, this “peaceful” backstory takes up a little more than twenty pages. The director unfolds it into a detailed image, when one line or remark turns into an episode, into a montage fragment.

Stanislav Rostotsky translates small volumes of prose into large cinematic form.

Hence - peace and war, the breakdown from one life to another. True, this is not quite an ordinary “world”, where a river splashes in the morning fog, laundry dries, an ax knocks and the eyes of female soldiers follow the only man here, Sergeant Major Vaskov. Together with the actors, the director found a common denominator for different characters: anti-aircraft gunners do not live according to the regulations, but as they live in the village, where it is difficult to hide from view and protect themselves from rumors, where they sit on the rubble, heat the bathhouse, but they organize an evening of dancing in the city style. Life is half-peaceful, half-rural. And its very half-heartedness, shiftiness justifies the carefully depicted everyday surroundings, the unhurried, colorful manner of the story. About the late womanish passion of the hut owner for a guest, about the first girlish love...

In the multi-figure composition, the central place belongs to Vaskov. Played by the young actor A. Martynov, he came closer than others to the intonation and thought of the author of the story, where it is said about his hero: “And the foreman is the foreman: he is always old for the soldiers... Therefore, the girls whom he had to command, he looked as if from another generation. As if he had been a participant in the Civil War and personally drank tea with Vasily Ivanovich Chapaev near the city of Lbischensk."

The intonation seems to be joking, but the very idea of generations is serious, thanks to it additional time coordinates appear, hidden this time in the acting.

Foreman Vaskov - active, economical, always busy with something, thorough in a peasant way, knowing nature like a hunter - does not remain motionless within the boundaries of the image. The feeling of soldierly and male responsibility that he experienced when he first saw the line of girls sent under his command - this feeling became the source of the young guy’s moral maturity. Then the feeling resulted in a persistent, painful thought: he didn’t save the girls in terrible war... How to answer for this to their mothers and children who will never be born? From here, from thought, Vaskov’s actions come, the animal-like precise behavior of a large body in a moment of danger, the indomitable fury of hand-to-hand combat are born.

In the story, Vaskov is both exalted, feeling Russia behind his back, and reliable when he presents his war with the Germans as a card game: who has trump cards, who goes. The film brings this internal monologue to the surface. Behind the figures of people you can see a forest, boulders, and a lake. The northern Karelian landscape, in which there has been something epic since ancient times, connects to the character of the hero.

The director consciously relies on the emotional memory of the audience. One of the screen compositions quite accurately reproduces “Above Eternal Peace.” The cultural layer introduced into the film is not limited to this frame, similar to the canvas by I. Levitan. They sing Larisa's romance from "Dowry" to the accompaniment of guitars. Poems by A. Blok, E. Bagritsky, M. Svetlov are heard. The concept, which takes into account perception, can be seen in the adventure element, which does not reduce the heroic-romantic style, but, as it were, controls the viewer’s attention from the inside.

The director also provided for an open - declarative - departure from the boundaries of the military calendar. The life-like structure of the frames is suddenly interrupted by tongues of flame that grow from under the lower edge, and in clean, bright colors Pictures of the pre-war happiness of each of the five heroines appear on the screen.

The image looks like a popular print.

It is, rather, imagination that has taken on a visible form with the help of V. Shumsky’s camera. Filmed in the manner of a cinematic “primitive” (to use a term from the dictionary of painting), the footage caused a lively discussion and was not accepted by a number of critics, who generally praised “And the Dawns Here Are Quiet...”.

The point here is not only the difference in style, although it is sharp. The psychological process gave way to sonorous, open color, red tongues flared up like an eternal flame at the foot of the frame, the requiem motif sounded in film digressions. And it seemed that the lively girls, played by actresses O. Ostroumova, E. Drapeko, I. Shevchuk, I. Dolganova, E. Markova, with a sense of youth, their own and the heroines, did not fit on this cinematic pedestal.

Flashbacks are no longer new in cinema. A mental return to the past, a memory materialized in frames, looked at first like an unusual, shocking technique, but soon became familiar. In their divergence, aesthetic necessity began to disappear.

Stanislav Rostotsky felt such a need. He believed that the heroines of his film have the right to count on integral destinies, starting from peaceful days. He was supported by Boris Vasiliev: “... the difficulty was that each character in the story does not have much winning dramatic material. Each character had to be recreated so that it was complemented, “played out” by all the others.”

In the story, the youngest, Galya Chetvertak, covers her head with her hands and throws herself under the fire of German machine guns. “She always lived in the imaginary world more actively than in the real one..” writes the author, talking about the fictional girl from the orphanage, about her dreams, with ghosts or solo parts in long dresses. The death before the eyes of her friend, Sonya Gurvich, and the horror born of this death pushed her to a desperate act. A tragic intimacy arose between one heroine and the other.

The director inherits the plot and semantic motive, but solves it in his own way - in these bright cinematic digressions.

The destinies of the five girls are, as it were, enclosed in a single outline of the feat. Zhenya Kamelkova, who caused the fire on herself. Liza Brichkina, hurrying for help and failing to be careful in the swamp. A quiet cry from Sonya Gurvich, who warned her friends. Shot by Rita Osyanina, who did not want to fall to the enemy alive. The death of each, as it were, continues at the last frontier that very, only life.

The material of war contains a moral criterion by which the thoughts and actions of contemporaries are often verified. Obviously, the artist’s position itself must contain the same moral principle. Boris Vasiliev spoke about the director of the film: “Rostotsky has an amazing ability to sympathize, to feel the pain of others as his own... He directed a film about himself and about his peers who did not live to see the Victory, about his friends. He staged a very personal picture.”

The memory of 1941-1945 gives rise to a special artistic reverence. Stanislav Rostotsky did a lot to ensure that the memory of the hard times of war was imprinted in the minds of viewers of different generations. And the audience responded with recognition. “And the Dawns Here Are Quiet...” was watched by 135 million - an unthinkable figure, especially against the backdrop of distribution reports of the post-perestroika period. The film received the Main Prize of the All-Union Film Festival (1972), the USSR State Prize (1975) and the “Memorable Festival Prize” in Venice (1972).

1.4. Multi-part film “The Dawns Here Are Quiet” by Chinese director Mao Weining.

Director: Mao Weining

Producers: Alexander Lyubimov, Alexander Chaldranyan, Zhang Guangbei

Country: China, Russia

Year: 2006

Episodes: 12

Actors: Tatyana Ostap, Daria Charusha, Elena Maltseva, Alexandra Teryaeva, Snezhana Gladneva, Lyudmila Kolesnikova, Andrey Sokolov (II)

Genre: war film

The idea of creating the painting “And the Dawns Here Are Quiet...” based on the story of the same name by front-line writer Boris Vasilyev was born on the Central Television (CCTV) of the People's Republic of China on the eve of the celebration of the 60th anniversary of the Victory over fascism. The producers decided to make a remake of the incredibly popular Soviet film directed by Stanislav Rostotsky from 1972 in television format. The preparatory period lasted two years. The script, written by Chinese scriptwriters, was edited by the author of the story, Boris Vasiliev. Russian and Ukrainian actors were invited to play all roles in the film. The filming period lasted 110 days. Filming took place both in China in the city of Hei He, and in Russia - in Moscow, St. Petersburg and the Amur region. The most significant filming site, “Railway siding in the North-West of the RSFSR in 1942,” was built from scratch near the city of Hei He near the Amur, right next to the border.

The version for screening in China has 19 episodes, the version for Russian viewers has 12 episodes (scenes where human dramas are deliberately and meaningfully played out, as well as episodes that look implausible for Russian viewers have been reduced). The remake of the 1972 film “The Dawns Here Are Quiet” largely uses the artistic solutions of Stanislav Rostotsky. The material from Boris Vasiliev’s story was not enough for a 19-episode film, and it had to be supplemented. Writer Boris Vasiliev took part in editing the remake script.

The television series “The Dawns Here Are Quiet,” which came out after the television show “How the Steel Was Tempered,” filmed on the initiative of the Cinematography Department of the Main International Television Company of China, was also filmed and edited by the efforts of Chinese filmmakers, and exclusively foreign actors were employed in it. The difference between this television series and the previous one is that, in addition to several location shootings in Russia, in Moscow and the Amur region, most of them took place in the Chinese province of Heilongjiang, in the city of Heihe. In order to recreate as realistically as possible the unique appearance of a Russian village during the Second World War, through the efforts of the film crew over the course of approximately 1.5 months, a batch of wood was brought from Russia to the banks of the Amur River, which flows in the aisles of China, at a distance of approximately 700 meters from the Russian city Blagoveshchensk to recreate the real appearance of a Russian village in the 40s of the last century. In this village there were more than 30 wooden huts, a storage facility, a small church, and also a fortification line - an old narrow-gauge railway.

Due to the unique beauty of the filming location, the Heilongjiang Provincial Administration has now turned the filming location of the television series into one of the attractions of the province.

The plot of the television series tells about a touching story that happened during the Great Patriotic War. In the summer of 1942, a group of young anti-aircraft gunners full of youthful enthusiasm was transferred to the 171st battalion. Their future commander, Sergeant Major Vaskov, was very surprised by this “female” replenishment, because shortly before this he constantly asked Lieutenant Rostov to transfer soldiers “who don’t drink and are not womanizers” to his battalion. However, imagine his surprise when he saw that the new addition consisted of young girls! The young anti-aircraft gunners brought a lot of joy to the everyday life of the small battalion, but there were also many funny incidents with them, since each of them had their own unique story. One day it became known that a group of German troops had landed in the area where the battalion was located. Commander Vaskov decided to send the girls on reconnaissance. No one could have imagined that this task would be completed at the cost of the lives of anti-aircraft gunners...

In the 70s of the last century, based on Boris Vasiliev’s story “The Dawns Here Are Quiet,” Soviet director Stanislav Rostotsky made a film of the same name; The release of this film literally shook the whole world. In the 80s this film met with Chinese viewers and caused a huge resonance among them. But, for various reasons, a television series was not made based on this outstanding work of literature. Until today, what Russian filmmakers could not do, the Chinese were the first to do. It is worth special mention that in order to clearly depict in the series the severe hardships that the war of conquest brought with it, the scenes during bathing, in which there is nudity, were given a real embodiment in the television series.

Since 2002, the Cinematography Department has repeatedly sought clarification from the author of the novel, 81-year-old Boris Vasiliev, from whom the copyright for the film adaptation was eventually acquired. The film crew also received warm support from the author. However, turning a 70,000-word novel into a 19-episode television series required some plot additions. Therefore, the general producer of the television series, Wei Ping, and the scriptwriter, Lan Yun, specially went to Moscow to show the draft script to Vasiliev and ask his opinion about the script. On the eve of filming, the director of the film, Jia Xiaochen, and other members of the film crew again went to Moscow to see Vasiliev, where they told him the script in detail. After listening to the Chinese filmmakers, the gray-haired Vasiliev excitedly exclaimed: “So much time has passed, I never thought that you, the Chinese, would decide to film my story. Rest assured, when you come to film me, I will be in great shape!” Now that the television production is successfully airing across the country, Vasiliev probably feels deep gratitude.

The entire cast of the television series, including extras, consists of Russians. Auditions for the main roles of the television series - five actresses and one actor - took place through a careful selection among numerous applicants in Moscow and the Amur region. Moscow Institute of Cinematography student Andrei Sokolov was cast in the main male role of “Sergeant Major Vaskov,” and the pretty, talented Russian actress Daria Simonenko was cast in the main female role of “anti-aircraft gunner Zhenya.” The remaining roles are occupied by students of the Moscow Institute of Cinematography and artists of Amur academic theaters. In the television series there is a battle scene when soldiers swear allegiance to the Red Banner. More than 200 people are involved in this scene, it is noteworthy that all these 200 people are Russians. This is the first time in the history of television drama in our country.

The filming of a television series in Russia attracted the close attention of ordinary Russians. People expressed their hopes that soon they too would be able to see on the screen a television series produced by the Chinese and starring Russian actors. IN currently The film department of China's Major International Broadcasting Company is working to implement this proposal.

All roles in the film are performed by Russian actors. Petty Officer Fedot Vaskov was played by Andrei Sokolov, Rita Osyanina by Tatyana Ostap, Zhenya Komelkova by Daria Simonenko, Sonya Gurvich by Elena Maltseva, Lisa Brichkina by Snezhana Gladneva, Galya Chetvertak by Alexander Teryaev, Sergeant Kiriyanov by Lyudmila Kolesnikova.

Film director Mao Weining praised the skill and talent Russian actors. According to him, they "worked very dedicatedly and persistently." First communication on film set It was done through a translator, but after a few weeks the actors began to speak a little Chinese, and the director learned some Russian words. When the television series aired in China in May 2005, it was watched by more than 400 million people.

An audiobook is a book, usually narrated by a professional actor (and sometimes an entire group), and recorded on an audio cassette, CD, or other audio medium. Audiobooks are a kind of radio play. There are programs for automatically converting e-books into audio books using speech synthesis.

Currently, the most popular audio books are in ogg and mp3 formats. They can be bought on disk in a bookstore, ordered in an online store or downloaded online.

Audiobooks have been around for a very long time and were first released on audio cassettes. They have always been popular in the West, where the pace of life does not allow time to read ordinary books, and people listen to them in the car on the way to work.

In the presented catalog you can find famous works domestic and foreign writers in such an accessible format - audiobook.

As far as possible, the database of audiobooks, which is available without registration, is constantly expanding in online stores, new works and new authors are being added. In addition to links for downloading audio books, information is provided about the writers themselves, their biographies, photographs; There are accompanying texts for books and illustrations.

Audiobooks about war - not frequent guest for the modern listener. Today’s culture itself seems too “combatant” to us. hectic life. But if you think about it, then best samples military literature is not at all about explosions and shots. They, like any real art, are first of all about people. About that Person, looking back at whom, one becomes ashamed of oneself and of our petty “battles”... The author of this audiobook is writer Boris Lvovich Vasiliev.

Audiobook “And the Dawns Here Are Quiet” is a story by Russian writer Boris Vasiliev. This heartfelt, piercing, soul-wrenching work tells about the feat of five female anti-aircraft gunners, who, led by their commander, Sergeant Major Vaskov, had to confront a group of enemy paratroopers during the Great Patriotic War. Finding themselves in a deep forest, completely isolated from the outside world, all five sacrificed themselves in the name of the Motherland, victory over the enemy and the future of their country.

Despite all the tragedy of the narrative, the audiobook “The Dawns Here Are Quiet” is imbued with a powerful lyrical feeling that does not allow the listener to become despondent and indulge in sadness: the strength of this work is that it gives a clear understanding of important truths. People often cry over this story, but they learn to understand that there are tears that one should not be ashamed of. It is difficult to tear yourself away from this book, but, empathizing with its characters, they realize that the work of the soul is the real reason for what is happening, and events are only the consequences of this work. Thinking about what they read, they understand what a moral choice is and what the words “War does not have a woman’s face” actually mean. In a word, imperceptibly from the pages of this book the battle moves into the reader’s soul, and if that soul is young, it tempers it; if it is callous, it softens that soul. Isn’t this the meaning of art itself?

Every year the events of that distant war recede into the past. But for some reason the war itself continues to remain a reality. Cities are burning, snipers are shooting, mines are exploding. The soldiers return home in coffins, violence breaks into the minds of children, and the crowd is still thirsty for blood. Is this what five innocent girls voluntarily gave their lives for? Of course not. The feeling of shame generated by an agitated conscience is another reason, perhaps the main reason, why such books should not gather dust on the shelves. Conscience should burn, if only it is important for the reader that someone should someday say about him: “So you read the right books as a child.” That is why the audiobook “The Dawns Here Are Quiet” is listened to with the heart and not with the mind.

You can download the audiobook “The Dawns Here Are Quiet” by Boris Vasiliev for free on the Alphabook.Ru website. There is also an opportunity to express your opinion and leave a comment on what you heard for other audiobook lovers. Perhaps it is your advice that will open your favorite audiobook to someone else.

1. Narrative organization

Recreating the image of a simple Russian person, B. Vasiliev achieves an almost complete fusion of the author's voice and the speech of the hero.

It is characteristic that in this story the writer uses technique of improperly direct speech, when the narrator’s speech is in no way separated from the hero’s internal monologue (“Vaskov’s heart was slashed from this sigh. Oh, you little sparrow, can you bear the grief on your hump? If only you could swear now, if only you could cover up this war in twenty-eight rolls intermittently. And at the same time, the major who sent the girls in pursuit should be rinsed in lye. Look, it would feel better, but instead you have to put a smile on your lips with all your might." Thus, the narrative often acquires intonations tale, and the point of view on what is happening takes on features characteristic specifically of the popular understanding of war. Throughout the story, the foreman’s speech itself changes: at first it is formulaic and reminiscent of the speech of an ordinary soldier, replete with statutory phrases and army terms (“he has twenty words in reserve, and those from the regulations” - characterize his girls), he even interprets his relationship with his mistress in military categories (“After reflection, he came to the conclusion that all these words were only measures taken by the mistress to strengthen her own positions: she ... sought to strengthen herself in the conquered borders”). However, as he gets closer to the girls, Vaskov gradually “thaws out”: caring for them, the desire to find his own approach to each of them makes him softer and more humane (“Volishy, this word popped up again! Because it’s from the statute. It’s been cut in forever. You’re a bear , Vaskov, deaf bear..."). And at the end of the story, Vaskov becomes simply Fedya for the girls. And most importantly, having once been a diligent “follower of orders,” Vaskov turns into a free person, on whose shoulders lies the burden of responsibility for other people’s lives, and the awareness of this responsibility makes the foreman much stronger and more independent. That’s why Vaskov saw his personal guilt in the deaths of the girls (“I put you down, I put all five of you, but for what? For a dozen Krauts?”).

The images of female anti-aircraft gunners embodied the typical destinies of women of the pre-war and war years: different social status and educational levels, different characters and interests. However, for all their life-like accuracy, these images are noticeably romanticized: in the writer’s depiction, each of the girls is beautiful in her own way, each worthy of her own life story. And the fact that all the heroines die emphasizes the inhumanity of this war, which affects the lives of even the people furthest from it. Fascists using contrast contrasted with romanticized images of girls. Their images are grotesque, deliberately reduced, and this expresses the writer’s main idea about the nature of a person who has taken the path of murder (“After all, man is separated from animals by one thing: the understanding that he is a man. And if there is no understanding of this, he is a beast. About two legs. About two hands and - a beast. A fierce beast, more terrible than a terrible one. And then nothing exists in relation to him: no humanity, no pity, no mercy. You have to beat him. Beat him until he crawls into his lair. And beat him there until he remembers that he was a man until he understands this”). The Germans are contrasted with the girls not only in appearance, but also in how easy it is for them to kill, whereas for girls, killing an enemy is a difficult ordeal. In this, B. Vasiliev follows the tradition of Russian battle prose - killing a person is unnatural, and the way a person experiences killing an enemy is a criterion of his humanity. War is especially alien to the nature of women: “War does not have a woman’s face” is the central idea of most of B. Vasiliev’s military works. This idea illuminates with particular clarity that episode of the story in which Sonya Gurvich’s dying cry is heard, bursting out because the blow of the knife was intended for a man, but fell on female breast. With the image of Liza Brichkina, a line of possible love is introduced into the story. From the very beginning, Vaskov and Lisa liked each other: she was to him for her figure and sharpness, he was for her with his masculine thoroughness. Lisa and Vaskov have a lot in common, however, the heroes never managed to sing together, as the foreman promised: the war destroys nascent feelings at the root.

The ending of the story reveals the meaning of its title. The work closes with a letter, judging by the language, written by a young man who became an accidental witness of Vaskov’s return to the place of the girls’ deaths along with Rita’s adopted son Albert. Thus, the hero’s return to the place of his feat is given through the eyes of a generation whose right to life was defended by people like Vaskov. This is the affirming idea of the story, and it is not for nothing that, just like “The Fate of Man” by M. Sholokhov, the story is crowned with the image of a father and son - a symbol of eternal life, continuity of generations.

1.7. Boris Vasiliev's story “The Dawns Here Are Quiet” in school study

Review of school literature programs

The basis of literary education in Russian schools is reading and studying Russian and foreign literature. Works of fiction included in the literature course of grades V -X I are divided into three sections.

The first section is works for detailed study (or, as they say, for textual analysis) in the classroom. They are included in the headings of program topics.

The second section is works for additional reading, also indicated in the program. They expand students’ understanding of the writer’s work, allow them to talk about the direction and problems of his work, and about his creative path. Reading of these works is mandatory, and the nature of the analysis is determined by the teacher depending on the plan for studying the topic.

The third section is works for independent extracurricular reading. In order to guide independent reading of students in the 11th grade, the program includes review topics on modern Soviet and foreign literature.

IN In grades I X-XI, the historical and literary principle is the main one in the construction of the course. It is achieved not by a complete presentation of the history of literature, but by the consistent application of the principle of historicism.

Works of art are considered as the creation and reflection of a certain era with its social, moral, aesthetic problems - and this allows them to be perceived as artistic values that will not lose their significance in the distant future.

The writer appears as a living person with his own unique biography and at the same time as a son of the people, an exponent of their ideals and aspirations; we see in him the features of his time and at the same time we understand that he is a participant in today’s life, influencing the spiritual world of more and more new generations of readers.

Program topics of grades I X-XI are clearly divided into two types: overview and monographic.

Review topics cover the leading problems of the course, the main periods of development of Russian literature or the development of literature at a certain period of history. The main task of review topics is to show the continuity and internal lines of development of the literary process, so that the school course does not turn into the study of separate, unrelated works.

The main task of monographic topics is to create a real basis for understanding the specifics of literature and the laws of its development.

Review and monographic topics in interrelation should gradually expand the historical and literary base of the course, form the fundamental scientific concepts, passing through all topics (literature and the liberation movement, artistic specificity of literature, artistic method, nationality of literature, etc.).

The nature of the organization of material in the eleventh grade contributes to the understanding of the historical and literary process. The correlation between the universal and specific historical approaches makes it possible to turn to “ eternal themes" This allows us to bring the works of the past closer to the present, strengthening their moral and aesthetic impact on students.

A series of lessons dedicated to comprehension military theme in the literature of the 50-90s, is a review topic. This topic includes the following authors: Yu. Bondarev, V. Bogomolov, G. Baklanov, V. Nekrasov, K. Vorobyov, V. Bykov, B. Vasiliev. The teacher himself determines which author to study.

The name of this writer first appeared during the study of Soviet literature in the 8th grade of the story “Not on the Lists,” so the teacher’s task is to give a more complete description of the personality of the author himself in relation to specifically - historical period and analyze his main works. Here the teacher can choose which works require a more in-depth analysis, and which ones need only be introduced to students as a review topic.

The purpose of our further research is to familiarize ourselves with the literature programs of different groups of authors.

1. Literature program (V -XI classes). Scientific editor T.F. Kurdyumova.

Compiled by: T.F. Kurdyumova, S.A. Leonov, E.N. Kolokoltsev, O.B. Maryina.

The purpose of literary education is the formation of a person’s spiritual world, the creation of conditions for the formation of the individual’s internal need for continuous improvement, for the realization and development of one’s creative potential. At the same time, the student masters the skill of a reader and his own free and vivid speech.

The structure and content of the literature course program are subordinated to these goals.

The structure and content of the program are divided into two parts: primary school (grades V -I X) and senior grades (grades X -XI) (course on a historical and literary basis).

1) The content of the middle school curriculum is determined by the world of interests of teenage students.

The range of works studied has been significantly enriched: the composition of folklore genres has been expanded (fairy tales, riddles, epics, proverbs, sayings, legends, myths, folk songs etc.), included works that are firmly established in the circle of children's and youth reading, but have not previously been studied at school. The inclusion of new and interesting works for young readers will help to more emotionally and at the same time consciously perceive native Russian literature in the context of world culture and literature.

2) The content of the course on a historical and literary basis consists primarily of reading and studying works of fiction. The nature of the organization of the material contributes to the understanding of the historical and literary process. The correlation between the universal and specific historical approaches makes it possible to turn to “eternal themes.” This allows us to bring the works of the past closer to the present, strengthening their moral and aesthetic impact on students.

The literature course for grades X-XI includes review and monographic topics, the combination of which allows not only to introduce students to outstanding works of art, but also to show their place in the historical and literary process.

Monographic topics provide enough full picture life and work of the writer. Some of them allow us to reveal the writer’s life and work in more detail, others more briefly, but they all include a textual study of works of art.

Review topics introduce the features of a particular era, literary movements and various creative groups of writers.

This team of authors offers a review topic of the Great Patriotic War for study. At the choice of the teacher, the authors of the 50-90s of the Second World War are studied, where the work of B. Vasilyev “And the dawns here are quiet” is examined [Programme-methodological materials 2006, p. 75].

2. Literature program (V - XI classes) for schools and classes with in-depth study of literature, gymnasiums and lyceums of the humanities. Edited by M.B. Ladygin.

“To form an idea of literature as a form of art, to teach to understand it internal laws, apply the acquired knowledge in the process of creative reading, distinguish truly works of art from phenomena of “mass culture”.

To teach the student to analyze a literary work as an objective artistic reality.

Develop an idea of the artistic world of a literary work, the laws of a writer’s creativity, literature and the world literary process.

Show the specific feature of literature as the poetic memory of the people. Based on the principle of historicism, determine the dialectical relationship between tradition and innovation, the continuity of literary eras.

Determine the national identity and global significance of Russian literature.

Explain the phenomenon of “classics”, which allows a work of art to be a fact of different historical eras, preserving its aesthetic, cognitive and educational value for different generations of humanity.

Identify the nature and principles of interaction between literature and other forms of art and general patterns of development artistic culture humanity.

To develop a stable artistic taste in students.

Develop competent oral and written communication skills.

Develop potential Creative skills schoolchildren" [Software and methodological materials 2001, pp. 207-208].

Literary education at school consists of three main stages. Teaching literature in grades X - XI is the third stage. “The main goal of this stage is to study the literary process in Russia in the 11th – 20th centuries. (including Soviet literature), mastering Russian literary classics, mastery of the elements of historical-functional analysis.

The selection of material for the program is subject to several basic principles.

Firstly, literary education should be based on the study of works of art that have undoubted aesthetic value; Moreover, the works must be read and studied in full (without opportunistic distortion of the text, including adaptation).

Secondly, the works selected for study must be accessible to the reading comprehension of students and correspond to the interests and age characteristics of schoolchildren.

Thirdly, the works must correspond to the educational goals of this section of the program and contribute to the solution of the tasks outlined in the program” [Programme-methodological materials 2001, p. 209].

This methodological manual discusses the topic: Heroic-tragic motives in literature about war, the artistic truth about a fighting people, about a person at war, about difficult victory; humanistic pathos of literature, search for authentic moral values(review with a summary of what has been studied, reading and analysis of works, chapters and pages). [Software and methodological materials 2006, p.293].

3. Literature program (V - XI classes). Edited by A.G. Kutuzov.

“The content and structure of this program is based on the concept of literary education based on creative activity. In general, the program is focused on the basic component of literary education, developed by the Ministry of Education of Russia, according to which two concentrations are distinguished in literary education (grades V - I X and grades X - XI), which corresponds to the level of basic secondary and complete secondary school, as this is provided for in the Education Law.

Literary education refers to the development of literature as the art of speech. A literary work is studied as a result of creative activity, as a cultural and symbolic phenomenon, as an aesthetic transformation of reality.

In accordance with this, the goal of literary education becomes the formation of a reader capable of fully perceiving literary works in the context of the spiritual culture of mankind and prepared for independent communication with the art of words.

The objectives of literary education are determined by its purpose and are related both to the reading activity of schoolchildren and to the aesthetic function of literature:

the formation of ideas about literature as a cultural phenomenon that occupies a specific place in the life of a nation and an individual;

understanding literature as a special form of mastering a cultural tradition;

the formation of a system of humanitarian concepts that make up the ethical and aesthetic component of art;

the formation of aesthetic taste as a guideline for independent reading activity;

the formation of an emotional culture of the individual and a socially significant value attitude towards the world and art;

formation and development of skills of competent and fluent oral and written speech;

the formation of basic aesthetic and theoretical-literary concepts as a condition for the full perception, analysis and evaluation of literary and artistic works.

The means of achieving the goals and objectives of literary education is the formation of the conceptual apparatus, emotional and intellectual spheres of thinking of the young reader, therefore a special place in the program is given to the theory of literature" [Program and methodological materials 2004, p. 133].

This program offers the following topic for consideration when studying the story “The Dawns Here Are Quiet”: “Problems of historical truth and human justice in Vasiliev’s story “The Dawns Here Are Quiet” and “Man at War in the Literature of the 19th - 20th Centuries.” [Software and methodological materials 2007, p.86].

4. Literature program (V - XI classes). Edited by V. Ya. Korovina.

“The literature course at school is based on the principles of the connection between art and life, the unity of form and content, historicism, tradition and innovation, comprehension of historical and cultural information, moral and aesthetic ideas, mastering the basic concepts of the theory and history of literature, developing the ability to evaluate and analyze works of art , mastering the richest expressive means of the Russian literary language.

The purpose of studying literature at school is to familiarize students with the art of words, the wealth of Russian classical and foreign literature. The basis of literary education is reading and studying works of art, familiarity with biographical information about masters of words and historical and cultural facts necessary for understanding the works included in the program.

Goal: to introduce students to classic examples of the world verbal culture, possessing high artistic merits, expressing the truth of life, general humanistic ideals, cultivating high moral feelings in the person reading.

The content of school literary education is concentric - it includes two large concentrations (grades 5-9 and grades 10-11).

In grades 10-11, the study of fiction on a historical and literary basis, monographic study of the works of classics of Russian literature is provided.

In this program, in the 11th grade, it is proposed to consider the following topic: “A new understanding of the military theme in the literature of the 50-90s. Yu. Bondarev, V. Bogomolov, G. Baklanov, V. Nekrasov, K. Vorobyov, V. Bykov, B. Vasiliev (works of the teacher’s choice).” Two hours are allocated for studying the literature of the Great Patriotic War in the 11th grade, which are conducted in the form of a seminar. [Programs of general education institutions 2007, p.247].

***

Thus, when analyzing four literature programs, their main goals and objectives were identified, as well as the structure and content of the section “Comprehension of military themes in the literature of the 50-90s in the 11th grade,” for the study of which 2 hours are allocated.

1 lesson. “The Great Patriotic War in the literature of the 50-90s. Yu. Bondarev, V. Bogomolov, G. Baklanov, V. Nekrasov, K. Vorobyov, V. Bykov, B. Vasiliev (works of the teacher’s choice)” (lecture).

Review of school textbooks.

Russian literature of the twentieth century. Grade 11. Textbook for general education institutions. At 2 o'clock Part 2. //Ed. V.P. Zhuravleva. 2006, p. 269-275.

This textbook does not cover a specific topic about the work of B. Vasiliev. works of the Great Patriotic War, features of the writers' language style, and artistic images of characters are analyzed in detail. The works of V. Bykov and B. Vasiliev are also compared. In addition, additional materials are provided: a range of concepts and problems, questions and assignments, topics for essays, we recommend reading (list of references).

Russian literature of the twentieth century. Grade 11. Textbook for general education institutions. At 2 o'clock Part 2. //Ed. V.V. Agenosova. M.: 2006, pp. 362-366.

The chapter on the Great Patriotic War examines such topics based on B. Vasiliev’s work “And the dawns here are quiet...” as features of B. Vasiliev’s military prose, the action of the story, the image of Vaskov, the technique of improperly direct speech, images of female anti-aircraft gunners, the ending of the story, the meaning names, symbolization. Additional didactic materials include: assignments and questions for repetition, essay topics, recommended literature.

The textbook briefly describes the main stages of the biography and analysis of the works of writers of the Great Patriotic War. A minimal narrative organization is given, a system of artistic images of the characters in B. Vasiliev’s story “And the dawns here are quiet...”.

Russian literature of the twentieth century. Grade 11. Textbook for general education institutions. At 2 o'clock Part 2. //Ed. V.Ya.Korovina. M.: 2007, pp. 233-236.

The review topic of the Great Patriotic War is revealed most fully. The facts of the biography of B. Vasiliev, the narrative organization of the story “And the dawns here are quiet...”, the system of characters, the artistic organization are given.

***

So, when reviewing state school programs and school textbooks on literature, we paid special attention to the study of B. Vasilyev’s story “The Dawns Here Are Quiet...”, and the following problem was identified: there is no correspondence between the objectives of state programs on literature and the content of school textbooks. Thus, these textbooks practically do not cover the topic “The system of images as the basis of the image social order in the work”, only small characteristics of the heroes of the story are given, and in some textbooks and manuals the story of B. Vasilyev is not considered at all.

1.8. Age-related characteristics of high school students’ perception of fiction

According to the observations of psychologists, a student goes through a number of stages in his development: junior (early) adolescence (10-12 years), senior (mature) adolescence (13-14 years) and the period of early adolescence (15-17 years), which correspond to various levels of analysis of a literary work. Thus, students of the period of early youth (15-17 years old, grades IX-XI) are characterized by “the era of connections, awareness of causes and consequences” [Rez 1977, p. 96].

Despite the relativity of age characteristics, diversity and even inconsistency of the overall picture of the development of students of the same age group for schoolchildren of the same age and class there are many similarities. These general trends in the literary development of students in early adolescence will be discussed.

During the period of early adolescence (grades IX-XI), outwardly everything may look decent: students sit quietly, listen (or pretend to listen), speak and write not always what they feel and think, but what they want from them hear. At the same time, high school students can love and appreciate art, but cannot in any way relate it to what is done in literature lessons. In such cases, the literary development of students becomes unmanageable precisely at the moment when they most need skillful and tactful guidance.

Early youth is the time of a person’s spiritual and physical blossoming, a period when a worldview is especially intensively formed, a system of views and beliefs is formed. Despite the less intense growth in literary development than in the 8th grade, the interest of high school students in art becomes deeper and more permanent. Along with literature, music is becoming a favorite form of art, and interest in theater, especially drama, is growing (opera and ballet enjoy noticeably less love among students). And reading is a necessity for many, although due to lack of time, schoolchildren in grades IX-XI read less than, say, seventh graders.

In early youth, an aesthetic attitude towards art in general and literature in particular is consolidated. While reading, high school students realize “that the images moving in their field of vision are images of life, and they understand that this is not life itself, but only its artistic display"[Asmus 1969, p. 57].

A qualitatively new stage in the literary development of high school students is also reflected in the fact that in grades IX-XI there are extremely rare cases (or even completely absent) when a work serves only as an impetus for the expression of one’s own thoughts and feelings. Psychologists explain this turn to an objective perception of art by a change in personality orientation during the transition from adolescence to adolescence.

“Unlike a teenager, who is largely focused on understanding himself and his experiences,” writes L.I. Bozhovich, “unlike a junior schoolchild who is completely absorbed in attention to the outside world, high school students strive to understand this external the world in order to find their place in it, as well as in order to gain support for their emerging views and beliefs” [Bozhovich 1968, p. 384].

High school students are able to perceive various forms of artistic convention, complex socio-psychological collisions, and difficult compositional and stylistic decisions. In a word, in the graduating class the student’s literary development rises by new level, he is prepared for independent reading of complex works.

At the final stage of literary education, the shortcomings of teaching literature of all previous years are especially clearly manifested, and the level of literary development of students in different grades IX-XI sometimes differs significantly from each other.

If in previous years the teaching of literature was mainly informative in nature, then the work of schoolchildren in grades IX-XI suffers from dryness and sketchiness. Most high school students do not convey the individual uniqueness of an artistic image; they, as a rule, strive to formulate the idea of a work, to reduce all the richness, all the multidimensionality of an artistic work to a logical conclusion. And some students even try to interpret the artistic image as an allegory. This tendency is especially noticeable when analyzing lyrics. The complexity of program works, their saturation with philosophical, moral, aesthetic problems leads to an increase in the load on thought in high school. The development of abstract thinking in these years is particularly intense and sometimes suppresses the student’s emotions and imaginative vision. However, if the intellectuality of perception is accompanied by at least a little emotionality and aesthetic feeling, then this leads to deeper comprehension author's intention and ideological and artistic content of the work.

***

A high school teacher is required to have both great literary culture and great pedagogical skill. A high culture of analysis, a differentiated approach to different groups of students, tactfulness, the ability to spare youthful pride and at the same time the desire to instill in them self-esteem and awaken a love for art - this is the path that helps the teacher overcome the difficulties that arise and maximize the development of the opportunities inherent in adolescence.

It is important for the teacher to know what psychological characteristics are characteristic of high school students. This will allow him to flexibly, tactfully, and skillfully guide the moral, “human” development of his students in the process of teaching literature.

Chapter II. Integrative lesson of literature and cinematography in 11th grade.

The depiction of a woman’s feat in war in the story by B.L. Vasiliev “And the dawns here are quiet...” in the film of the same name by S. Rostotsky and the series Mao Wainina.

Lesson objectives:

educational: in the process of analyzing B. Vasilyev’s story “And the dawns here are quiet...” to lead students to understand the images of female anti-aircraft gunners and Vaskov as a Russian national character;

developmental: develop logical thinking, the ability to compose a syncwine, give a detailed answer to the teacher’s question;

educational: help students understand the meaning of such moral concepts as kindness, mercy, sensitivity, humanity, conscience; think about the meaning of human life.

Lesson objectives:

1.Develop cognitive abilities, communication and information competencies; unleash the creative potential of students.

2. Contribute to the development of students’ ideological position. To foster a sense of patriotism and pride for the country and its people.

3. Improve the ability to analyze text, reason, and reflect.

Lesson type: explanation of new material.

Lesson type: mixed (reading and text analysis).

Equipment: films of the same name (for the analysis of Boris Vasiliev’s story “And the dawns here are quiet...”), texts of the work.

Methods and techniques: reproductive (teacher’s word, correct conclusions of notes in a notebook), creative (commenting, expressive reading, viewing and commenting on video fragments, compiling a syncwine), heuristic (analytical conversation).

Study Path: problem-thematic.

Program: Literature program (grades V – XI). Edited by A.G. Kutuzov.

Textbook: Russian literature of the twentieth century. Grade 11. Textbook-workshop for educational institutions.// Ed. Yu.I.Lyssogo. M.: Mnemosyne, 2003, p. 450-461.

You burn, narrow strip of dawn,

Fire smoke creeps across the ground...

We love you, our native Russian land,

We will never give it up to our enemies!

I. Molchanov

War does not have a woman's face.

S. Alexievich

During the classes

1 .The teacher’s word about the topic and objectives of the lesson (reproductive).

- “Why are we writing about the Second World War again? Not because, probably, the weakness of the human race is the fear of death, and not because the instinct of self-preservation dominates the mind. No, we remember the war because man is the greatest value of this world, and his courage and freedom are liberation from fear, from evil that divide people.”

(B. Vasiliev).

The writers showed us that even in war, honest, brave and fair people are valuable, that friendship in war is something more than just friendship - it is an inextricable bond, sealed with blood. Writers showed us that mistakes in war are more than just mistakes, because behind them lie the lives and destinies of people.

2. Conversation on issues: (heuristic).

A) Name the works about the Great Patriotic War and their authors.

B) Your associations with the word “war”.

War is grief, tears, the suffering of mothers, hundreds of dead soldiers, hundreds of orphans and families without fathers, terrible memories of people, horror, savagery.

Q) Do you agree with the statement “war does not have a woman’s face”?

A woman for me is the embodiment of the harmony of life. And war is always disharmony. And a woman in war is the most incredible, incompatible combination of phenomena. And our women went to the front and fought on the front line next to men...

(Boris Vasiliev)

D) What works talk about women’s participation in the war?

3. A student’s story about the life and work of B. Vasiliev, the history of the creation of the story “And the dawns here are quiet...” (creative).

Boris Lvovich Vasiliev was born on May 21, 1924 in Smolensk into the family of a military man. He belongs to the generation of young men who were destined to step into the heat of war from school. He fought in the airborne troops.

After the war, he graduated from the Military Academy of Armored Forces (1948), served in the army, and was a test engineer for transport vehicles in the Urals. B. Vasiliev's literary debut took place in 1955, when the play "Officer" was published, then the following - "Knock and it will open" (1939), "My Fatherland, Russia" (1962).

In 1969, the story “And the Dawns Here Are Quiet...” appeared in print, bringing the author wide fame. The story was dramatized, and in 1972 a film of the same name was released, which was extremely popular and became a classic of Soviet cinema. Many theaters have included the play of the same name in their repertoire.

The following works by B. Vasiliev invariably aroused the public’s interest, confirming the writer’s talent: the story “The Very Last Day” (1970); novel "Don't Shoot White Swans" (1973); novel “Not on the Lists” (1974). All three works were filmed; B. Vasilyev’s author belongs to historical novel"They were and were not" (1977-80), the autobiographical story "My horses are flying..." (1982), the books "The Burning Bush" (1986) and "And there was evening, and there was morning" (1987).

In 1991, two stories “Drop by Drop” and “Carnival” were published, in next year- a new work - "The House That Grandfather Built", in 1990 - an essay "There is such a profession." I recently finished a new historical novel, Yaroslav and His Sons, dedicated to the time of Alexander Nevsky. Currently working on the work “Quench My Sorrows”. Lives in Moscow.

Teacher: The longest day of the year

With its cloudless weather

He gave us a common misfortune

For everyone, for all four years.

She made such a mark

And laid so many on the ground,

That twenty years, and thirty years

The living can't believe they're alive...

(K. Simonov).

The war left its mark on the history of many states, on the fate of the people and every family. She had a huge impact on public consciousness. What was the role of your families in WWII? (creative)

Speeches by students (students talk about their relatives who participated in the Second World War).

Teacher: You have become acquainted with many works and films about the war. What mark did your literature lessons about the Great Patriotic War leave on you?

1. Of course, the heroism and courage of ordinary soldiers amazes our imagination, but my feelings are touched even more by stories about those situations when a person faces moral choice when he discovers himself in good and evil, courage and fear, devotion and betrayal.

2. In order for everyone to win, everyone had to win individually. A sense of responsibility helped us survive when everyone considered the war their own personal matter. Love for the Motherland made people who were different from each other into a single whole, helped them to survive and win. Each person tried to do everything to win.

3. Much is surprising, a person can do a lot if he knows in the name of what and for what he is fighting. The theme of the tragic fate of the Soviet people will never be exhausted. Nobody wants the horrors of war to be repeated. Let children grow up peacefully, not afraid of bomb explosions, let Chechnya not happen again, so that mothers don’t have to cry for their lost sons. Human memory stores both the experience of many generations who lived before us, and the experience of everyone. “Memory resists the terrifying power of time,” said D. S. Likhachev. Let this memory and experience teach us kindness, peacefulness, and humanity. And let none of us forget who and how fought for our freedom and happiness.

4. The teacher’s story about the history of the creation of the story “And the dawns here are quiet...” (reproductive).

In 1969, the magazine “Youth” published the story “And the Dawns Here Are Quiet...”. The story was read then and read today; the story was adapted into a film of the same name, which was successfully screened in many countries. B. Vasiliev’s story became my reference book because it told me the truth about the war through the lips of a man who saw a lot of grief on the roads of war and lost his friends at the front. And here is the episode that B. Vasiliev recalls:

“... The idea for the story was born from a “push of memory.” I went to the front as soon as I finished 10th grade, in the first days of the war... as part of a destroyer battalion, I went on a mission into the forest. And there, among a living green forest clearing, so peaceful in its silence... I saw two dead village girls killed by the Nazis... I later saw a lot of grief, but I could never forget these girls...”

5. Creative work class by groups: (creative).

Talk about the girl’s life before the war, during the war, about her participation in reconnaissance, about her death. Write a description and express your attitude towards the heroine of the story. Describe Vaskov

Work of students of the 1st group:

Boris Vasiliev himself never ceases to admire Zhenya: “tall, red-haired, white-skinned. And her eyes are childish: green, round, like saucers.”

Zhenya’s family: mother, grandmother, brother - the Germans killed everyone, but she managed to hide. She ended up in the women's battery for having an affair with a married commander. Very artistic, emotional, she always attracted male attention. Her friends say about her: “Zhenya, you should go to the theater...”. Despite personal tragedies, Komelkova remained cheerful, mischievous, sociable and sacrificed her life for the sake of others, to save her wounded friend. Cheerful, funny, beautiful, mischievous to the point of adventure, desperate and tired of war, of pain, of love, long and painful, for a distant and married man.

About Zhenya’s death we read an excerpt from the story: “She wanted to help Rita, who was mortally wounded, and Vaskov, who had to see the matter through to the end. Zhenya understood that by leading the Germans away from her comrades, she was thereby saving them from certain death.”

Zhenya Komelkova is one of the brightest, strongest and most courageous representatives of the female fighters shown in the story. Both the most comic and the most dramatic scenes are associated with Zhenya in the story. Her goodwill, optimism, cheerfulness, self-confidence, and irreconcilable hatred of her enemies involuntarily attract attention to her and arouse admiration. In order to deceive the German saboteurs and force them to take a long road around the river, a small detachment of girl fighters made a noise in the forest, pretending to be lumberjacks. Zhenya Komelkova acted out a stunning scene of carelessly swimming in icy water in full view of the Germans, ten meters from enemy machine guns.

Here Zhenya “...stepped into the water and, screaming, began splashing noisily and cheerfully. The spray sparkled in the sun, rolled down the elastic warm body, and the commandant, not breathing, waited in horror for his turn. Now, now, Zhenya will hit and break, throw up his hands...”

Together with Vaskov, we see that Zhenya “smiles, and her eyes, wide open, are full of horror, as if with tears. And this horror is alive and heavy, like mercury.”

In this episode, heroism, courage, and desperate courage were fully demonstrated.

In the last minutes of her life, Zhenya called fire on herself, just to ward off the threat from the seriously wounded Rita and Fedot Vaskov. She believed in herself, and, leading the Germans away from Osyanina, did not doubt for a moment that everything would end well.

And even when the first bullet hit her in the side, she was simply surprised. After all, it was so stupidly absurd and implausible to die at nineteen...

“And the Germans wounded her blindly, through the foliage, and she could have hidden before, and perhaps escaped. But she shot while there were cartridges. She shot while lying down, no longer trying to run away, because her strength was gone along with her blood. She could hide, wait, and maybe leave. And she didn’t hide, and she didn’t leave...”

Work of students of the 2nd group:

Liza Brichkina lived all nineteen years in a sense of tomorrow. Every morning she was burned with an impatient premonition of dazzling happiness, and immediately her mother’s exhausting cough pushed this date with the holiday until the next day. He didn’t kill, he didn’t cross out, he moved it away.

“Our mother will die,” my father sternly warned. For five years, day after day, he greeted her with these words. Lisa went into the yard to give food to the pig, the sheep, and the old government gelding. The mother washed, changed and spoon-fed her. She cooked dinner, cleaned the house, walked around her father’s squares and ran to the nearby general store for bread. Her friends had graduated from school long ago: some had gone to study, some had already gotten married, and Lisa fed, washed, scrubbed, and fed again. And waited for tomorrow. This day was never associated in her mind with the death of her mother. She could hardly remember her being healthy, but so much had been invested in Lisa herself. human lives that the idea of death simply did not have enough space. Unlike death, which my father reminded me of with such tedious severity, life was a real and tangible concept. She was hiding somewhere in the shining tomorrow, while she bypassed this cordon lost in the forests, but Lisa knew firmly that this life existed, that it was intended for her and that it was impossible to pass it up, just as it was impossible not to wait for tomorrow.

“Just one step to the side. And my legs immediately lost support, hung somewhere in an unsteady void, and the swamp squeezed my hips like a soft vice. The long-simmering horror suddenly splashed out at once, sending a sharp pain through my heart. Trying to hold on and climb out onto the path, Lisa leaned all her weight onto the pole. The dry pole crunched loudly, and Lisa fell face down into the cold liquid mud. There was no land. My legs were slowly, terribly slowly dragged down, my arms rowed the swamp to no avail. And Lisa, gasping, gasping, wriggled in the liquid mass. And the path was somewhere nearby: a step, half a step, but these half steps were no longer possible to take...”

Work of students of the 3rd group:

Sonya Gurvich from Minsk. Her father was a local doctor. They were very friendly and very big family: children, nephews, grandmother, mother’s unmarried sister, some other distant relative, and there was no bed in the house for one person to sleep on, but there was a bed for three to sleep on.

She herself studied for a year at Moscow University and knows German.

Even at the university, Sonya wore dresses altered from her sisters' dresses - gray and dull, like chain mail. And for a long time I didn’t notice their severity, because instead of dancing I ran to the reading room and to the Moscow Art Theater, if I managed to get a ticket to the gallery.

Sonya is “thin as a spring rook,” her boots are two numbers too big, she stomps on them; on the back there is a duffel bag. In his hands is a rifle. She “was very tired, the butt was already dragging on the ground.” And the “face” is “sharp, ugly, but very serious.” Vaskov thinks about her “pityingly” and involuntarily asks her a question, like a child: “Are your dad and mom alive? Or are you an orphan? And after Sonya’s answer and sigh, “Vaskov’s heart was slashed from this sigh. Oh, you little sparrow, can you bear the grief on your hump?..”

“Were the Germans waiting for Sonya or did she accidentally run into them? She ran without fear along the path she had taken twice, in a hurry to bring him, Sergeant Major Vaskov, that shag. I swear three times. She ran, rejoiced, and did not have time to understand where the sweaty weight fell on her fragile shoulders, why her heart suddenly exploded with a piercing bright pain. No, I made it. And she managed to understand and scream, because she didn’t reach the knife to her heart with the first blow: her chest was in the way. Or maybe it wasn't like that? Maybe they were waiting for her?

Sonya Gurvich – “translator”, one of the girls in Vaskov’s group, a “city” girl; thin as a spring rook.

The author, talking about Sonya's past life, emphasizes her talent, love for poetry and theater. Boris Vasiliev recalls: “The percentage of intelligent girls and students at the front was very large. Most often - first-year students. For them, the war was the most terrible thing... Somewhere among them, my Sonya Gurvich fought.”

And so, wanting to do something nice, as an older, experienced and caring comrade, the foreman, Sonya rushes for a pouch that he had forgotten on a stump in the forest, and dies from a blow from an enemy knife in the chest.

Work of students of group 4.

Galka is a skinny “little little thing”, “she did not meet army standards either in height or age.” Let’s imagine her, small (“Quarter”), also with a rifle. With a duffel bag, without a boot, “in one stocking. My thumb is sticking out of the hole, blue from the cold.” “With her growth,” Vaskov thinks, “even a bucket is like a barrel.” Galka herself defined Fedot Evgrafych’s attitude towards her “with indignation”: “Like you are with a little girl...” He wants to cover her, protect her, he takes her in his arms so that she doesn’t get her feet wet again. She cries like a little girl: “bitterly, resentfully - as if a child’s toy had been broken.”

Endowed by nature with a bright, imaginative fantasy, Galya “always lived in the imaginary world more actively than in the real one,” so now (when she put on the boots of the murdered Sonya) “she physically, to the point of nausea, felt the knife penetrating the tissue, heard the crunch of torn flesh, felt the heavy smell of blood... And this gave birth to a dull, cast-iron horror...” And nearby were enemies, death.

“The Germans walked silently, bending down and holding out their machine guns.

The bushes made a noise, and Galya suddenly jumped out of them. Bent over, clasping her hands behind her head, she rushed across the clearing in front of the saboteurs, no longer seeing or thinking anything.

Ah-ah-ah!

The machine gun struck briefly. From a dozen steps he hit the thin one. Her back was strained while running, and Galya plunged face first into the ground, never removing her hands from her head, twisted in horror. Her last cry was lost in a gurgling wheeze, and her legs were still running, still beating, piercing the toes of Sonya’s boots into the moss. Everything in the clearing froze..."

Gali Chetvertak – orphan, pupil orphanage, dreamer. Endowed by nature with a vivid imaginative imagination. Skinny, little "snotty" Galka did not fit the army standards either in height or age.

“The reality that women faced in the war,” says B. Vasiliev, “was much more difficult than anything they could come up with in the most desperate time of their fantasies. The tragedy of Gali Chetvertak is about this.”

Work of students of group 5:

“Rita knew that her wound was fatal and that dying would be long and difficult. So far there was almost no pain, only the burning sensation in my stomach was getting stronger and I was thirsty. But it was impossible to drink, and Rita simply soaked a rag in the puddle and applied it to her lips.

Vaskov hid her under a spruce tree, threw branches at her and left...

Rita shot in the temple, and there was almost no blood.”

Courage, composure, humanity, and a high sense of duty to the Motherland distinguish the squad commander, junior sergeant Rita Osyanina. The author, considering the images of Rita and Fedot Vaskov to be central, already in the first chapters talks about Osyanina’s past life. School evening, meeting Lieutenant - border guard Osyanin, lively correspondence, registry office. Then - the border outpost. Rita learned to bandage the wounded and shoot, ride a horse, throw grenades and protect herself from gases, the birth of her son, and then... the war. And for the first time during the war, she was not at a loss - she saved other people’s children, and soon found out that her husband had died at the outpost on the second day of the war in a counterattack.

More than once they wanted to send her to the rear, but each time she appeared again at the headquarters of the fortified area, was hired as a nurse, and six months later she was sent to study at a tank anti-aircraft school.

Rita learned to quietly and mercilessly hate her enemies. At the position, she shot down a German balloon and an ejected spotter.

When Vaskov and the girls counted the Germans emerging from the bushes - sixteen instead of the expected two. The foreman said to everyone in a homely manner: “It’s not good, girls.”

It was clear to him that they couldn’t hold out for long against heavily armed enemies, but then Rita’s firm response: “Well, should we watch them pass by?” - obviously, Vaskova was a little strengthened in her decision. Twice Osyanina rescued Vaskov, taking the fire upon herself, and now, having received a mortal wound and knowing the position of the wounded Vaskov, she does not want to be a burden to him, she understands how important it is to bring their common cause to the end, to detain the fascist saboteurs.

Work of 6th group students.

Fedot Vaskov is thirty-two years old. He completed four classes of the regimental school, and in ten years rose to the rank of senior officer. Vaskov experienced a personal drama: after the Finnish war, his wife left him. Vaskov demanded his son through the court and sent him to his mother in the village, but the Germans killed him there. The sergeant major always feels older than his years. He is efficient.

“Vaskov felt older than he was.” And this, in turn, explains why in the army he was a foreman not only by rank, but also by his “senior essence,” which became a peculiar feature of his worldview. The author sees Vaskov’s seniority as a kind of symbol. A symbol of the supporting role of people like Vaskov, conscientious workers, hard workers and peaceful life, and in the military. As a “senior”, he takes care of the fighters, takes care of order, and ensures strict fulfillment of the task. The author writes: “…..in the punctual execution of someone else’s will I saw the whole meaning of my existence.” He pedantically follows the regulations - this reveals the limited horizons of the foreman and often puts him in a funny position. The relationship between the foreman and the anti-aircraft gunners is difficult at first precisely because, from Vaskov’s point of view, the girls constantly violate the Charter, and, from the girls’ point of view, Vaskov blindly follows the Charter and does not take living life into account. For them, he is “a mossy stump: he has twenty words in stock, and those are from the statutes.” The word Charter and other military terms never leave Vaskov’s tongue. Even expressing his impression of the piercing beauty of Zhenya Komelkova, he says: “The incredible power of the eyes, like a one hundred and fifty-two-millimeter howitzer gun.” The mortal battle with saboteurs became the test in which Vaskov’s character was revealed more deeply. To keep the girls’ spirits up, he must “attach a smile to his lips with all his might.” He becomes imbued with sympathy and warmth for each one’s grief, getting to know them better. Having become close to them through misfortune and the desire to win, Vaskov says: “What kind of foreman am I to you, sisters? I’m kind of like a brother now.” This is how the soul of the stern Vaskov is dealt with in battle, and the girls are imbued with respect for him.

6. Conversation on the story: (heuristic).

The title emphasizes all the horror, all the savagery of this war

The anti-aircraft gunner girls returned silence to the dawns, and the dawns, in turn, preserve the memory of the events that took place, sacredly, as before, keeping silence.

In the title B. Vasiliev expressed main idea which runs through the entire story: the girls died in the name of a bright future, in the name of always having clear skies and quiet dawns over our country.

2. Characterize Vaskov. How does Boris Vasiliev show this hero in the story? Under the influence of what events does it change? (hero evolution)

- Meeting anti-aircraft gunners: stern, dry, cold, secretive, adhering only to the regulations, illiterate, unable to make decisions.

- Captivity of the Germans: deeply worried, suffering, able to be firm.

7. Viewing fragments of the film. (creative, heuristic).

Teacher:

Front-line directors leave, but their films remain - the best that was said on the screen about the war. In one year, 2001, following Grigory Chukhrai, the creator of “The Ballad of a Soldier,” Stanislav Rostotsky, director of the film “And the Dawns Here Are Quiet...”, ended his life and career.

War, measured by a woman's share, is a theme that has not been interrupted in the movies. She was characterized by a special humanistic tone, sometimes elevated to the point of tragedy, sometimes reduced to everyday life and yet retaining poetic spirituality.

Conversation based on fragments from the film by S. Rostotsky:

Viewing a fragment (beginning of the film - landscape) - 30 seconds.

It was in these places, the Karelian forests, that the events described in the story took place. How do you understand the title of the story? How does the landscape help reveal the meaning of the title of the work? (The Karelian landscape is beautiful: green forests, clean rivers, calm expanse of water, high deep sky. Silence. Quiet dawns. And all this is destroyed by machine gun fire. War should not destroy peaceful life. And everyone should remember this and preserve the Earth. The land where quiet dawns. Remember those who preserved the world).

Teacher:

Why do you think the director divided the film into “peace” and “war”? ("And the dawns here are quiet..." are not accidentally divided into two episodes. The first is peace, the second is war. Chronologically this is not so: the film takes place in May 1942. And in the first episode there is a battle... Peace and war , the breakdown from one life to another. True, not quite an ordinary “world”, where a river splashes in the morning fog, laundry dries, an ax knocks and the eyes of the soldiers follow the only man here, Sergeant Major Vaskov. Together with the actors, the director found a common denominator for different characters : anti-aircraft gunners do not live according to the regulations, but like they live in a village, where it is difficult to hide from view and protect themselves from rumors, where they sit on the rubble, stoke the bathhouse, but at the same time they organize an evening of dancing in a city style. Life is half-peaceful, half-rural. And its very half-heartedness, the shift justifies the carefully depicted everyday surroundings, the unhurried, colorful manner of the story. About the late womanish passion of the housewife for a guest, about the first girlish love...)

How is the war shown in Rostotsky's film? (Fire trails go up, machine-gun quadruples knock furiously, shell casings roll with a ringing sound, and the smoky trail of a fallen plane traces the sky. The battle is colorful, enchanting, unlike the war that will begin for anti-aircraft gunners not in the sky, but on swampy ground. In Boris Vasiliev's story, this "peaceful" backstory occupies a little more than twenty pages. The director unfolds it into a detailed image, when one line or remark turns into an episode, into a montage fragment. Each deceased had his own fate, his own battle, his own last line, and for everyone, the entire war was contained in this small space).

The central place in the story and film is occupied by the figure of Vaskov. How is Vaskov’s internal monologue shown in the film and in the story? (In the story, Vaskov is exalted, feeling Russia behind his back, and is reliable when he presents his war with the Germans as a card game: who has trump cards, who goes. In the film, this internal monologue is brought to the surface. Behind the figures of people, a forest, boulders, and a lake are visible. The northern Karelian landscape, in which there has been something epic since ancient times, is connected to the character of the hero).

How is the peaceful life of girls shown? (The director also provided an open - declarative - exit beyond the military calendar. The life-like structure of the shots is suddenly interrupted by tongues of flame that grow from under the bottom edge, and pictures of the pre-war happiness of each of the five heroines appear on the screen in pure, bright colors).

Now let’s look at excerpts from a film by a Chinese film director and compare these two films.

Teacher:

The script, written by Chinese scriptwriters, was edited by the author of the story, Boris Vasiliev. Russian and Ukrainian actors were invited to play all roles in the film. The filming period lasted 110 days. Filming took place both in China in the city of Hei He, and in Russia - in Moscow, St. Petersburg and the Amur region.

What is the main difference between the film of the same name by S. Rostotsky and the series Mao Weinina “And the dawns here are quiet...”? (Rostotsky’s film is divided into two episodes, and the series by the Chinese director is 20 episodes).

Teacher:

The difference between this television series and the previous one is that, in addition to several location shootings in Russia, in Moscow and the Amur region, most of them took place in the Chinese province of Heilongjiang, in the city of Heihe.

In a television production based on famous novel(Boris Vasilyev) revealed the cruel fate that befell young girls during the war, which violated the beauty of life. The entire television series is imbued with strong feelings of hatred of ordinary people towards the fascist invaders.

Did you like the film by the Chinese director? Why?

Compare the story and films based on the work.

The film's creator, S. Rostotsky, increased the emotional impact. Through the means of cinema, it was possible to deepen the contrast between a peaceful, happy life and war, death, which lies at the heart of the story.

Why is the war in black and white in the film, and the peaceful life of the girls (remember the fragments of the first part of the film, watched earlier) and modern life in color? (The presence of color reminds that the beauty of nature does not touch or offend anyone. All strength is given to the struggle).

In the film, more space is given to our contemporaries than in the book. Therefore, the topic of memory has become more significant.

Watching a fragment from a film (epilogue) – three minutes.

8. Creative work: make a syncwine with the word “patriotism”. (creative).

Listening to the song “Do the Russians want war?”

9. Summing up the lesson.

Boris Vasiliev sees the basis for the spiritual transformation of the foreman in his primordial moral qualities, first of all, in the ineradicable sense of responsibility for everything in the world: for order on patrol and for the safety of government property, for the mood of his subordinates and for their compliance with statutory requirements. Thus, in the story “And the Dawns Here Are Quiet...” the connection between the conscientiousness, diligence of a hard worker and his ability for high civic activity is revealed.

At the end of the story, the author raises his hero to the heights of conscious heroism and patriotism. The author’s intonation, merging with Vaskov’s voice, reaches pathos: “Vaskov knew one thing in this battle: not to retreat. Don’t give up a single piece of land on this coast to the Germans. No matter how hard it is, no matter how hopeless it is, to hold on.

….And he had such a feeling, as if all of Russia had come together behind his back, as if it was he, Fedot Evgrafovich Vaskov, who was now her last son and protector. And there was no one else in the whole world: only him, the enemy and Russia.”

A single feat - the defense of the Motherland - equates Sergeant Major Vaskov and the five girls who “hold their front, their Russia” on the Sinyukhin Ridge. This is how another motive of the story arises: everyone in his own sector of the front must do the possible and the impossible to win, so that the dawns are quiet. This is the measure of the heroic, according to Vasiliev.

Who is the story addressed to?

(To the younger generation, so that they remember - this is mentioned in the epilogue).

Homework: write a review “Artistic means, language of the work.” (creative).

Find material for any lesson,

Analysis of the work “And the dawns here are quiet...”

war poem character story

Recently I read Boris Vasiliev’s story “And the dawns here are quiet...”. Unusual topic. Unusual, because so much has been written about the war that one book would not be enough if you only remembered the titles of books about the war. Unusual because it never ceases to excite people, reviving old wounds and souls. Unusual because memory and history merged into one.

I, like all my peers, do not know war. I don’t know and I don’t want war. But those who died did not want it either, not thinking about death, about the fact that they would no longer see the sun, grass, leaves, or children. Those five girls didn’t want war either!

Boris Vasiliev's story shook me to the core. Rita Osyanina, Zhenya Komelkova, Lisa Brichkina, Galya Chetvertak. In each of them I find a little of myself, they are close to me. Each of them could be my mother, could tell me about beauty, teach me how to live. And I could be in the place of any of them, because I also like to listen to the silence and meet such “quiet, quiet dawns.”

I don't even know which of them is closer to me. They are all so different, but so similar. Rita Osyanina, strong-willed and gentle, rich in spiritual beauty. She is the center of their courage, she is the cement of achievement, she is the Mother! Zhenya... Zhenya, Zhenya, cheerful, funny, beautiful, mischievous to the point of adventure, desperate and tired of war, of pain, of love, long and painful, for a distant and married man. Sonya Gurvich is the embodiment of an excellent student and a poetic nature - a “beautiful stranger”, who came out of a volume of poems by Alexander Blok. Lisa Brichkina... “Oh, Lisa-Lizaveta, you should study!” I would like to study, I would like to see Big city with its theaters and concert halls, its libraries and art galleries. And you, Lisa... The war got in the way! You won’t find your happiness, won’t give you lectures: I didn’t have time to see everything I dreamed of! Galya Chetvertak, who never grew up, is a funny and clumsily childish girl. Notes, escape from the orphanage and also dreams... to become the new Lyubov Orlova.

None of them had time to fulfill their dreams, they simply did not have time to live their own lives. Death was different for everyone, just as their fates were different: for Rita - an effort of will and a shot in the temple; Zhenya’s is desperate and a little reckless, she could have hidden and stayed alive, but she didn’t hide; Sonya's is a dagger strike at poetry; Galya's is as painful and merciless as herself; from Lisa - “Ah, Lisa-Lizaveta, I didn’t have time, I couldn’t overcome the quagmire of war...”.

And the Basque foreman, whom I have not yet mentioned, remains alone. Alone in the midst of pain, torment; one with death, one with three prisoners. Is it alone? He now has five times more strength. And what was best in him, humane, but hidden in his soul, was suddenly revealed, and what he experienced, he felt for himself and for them, for his girls, his “sisters.”

As the foreman laments: “How can we live now? Why is this so? After all, they don’t need to die, but give birth to children, because they are mothers!” Tears inevitably come to your eyes when you read these lines.

But we must not only cry, we must also remember, because the dead do not leave the lives of those who loved them. They just don’t grow old, remaining forever young in people’s hearts.

Why is this particular work memorable to me? Probably because this writer is one of the best writers of our time. Probably because Boris Vasiliev managed to turn the topic of war on that unusual side, which is perceived especially painfully. After all, we, including myself, are accustomed to combining the words “war” and “men,” but here are women, girls and war. Vasiliev managed to construct the plot in such a way, to tie everything together in such a way that it is difficult to single out individual episodes; this story is a single whole, fused. A beautiful and inseparable monument: five girls and a foreman, standing in the middle of the Russian land: forests, swamps, lakes - against an enemy, strong, hardy, mechanically killing, who significantly exceeds them in number. But they did not let anyone through, they stood and stand, poured out of hundreds and thousands of similar destinies, exploits, from all the pain and strength of the Russian people.

Women, Russian women, who defeated war and death! And each of them lives in me and other girls, we just don’t notice it. We walk the streets, talk, think, dream like them, but a moment comes and we feel confidence, their confidence: “There is no death! There is life and struggle for Happiness and Love!”

The story “The Dawns Here Are Quiet,” written by Boris Lvovich Vasiliev (life: 1924-2013), first appeared in 1969. The work, according to the author himself, is based on a real military episode, when, after being wounded, seven soldiers who served railway, did not allow the German sabotage group to blow it up. After the battle, only one sergeant, the commander of the Soviet fighters, managed to survive. In this article we will analyze “And the Dawns Here Are Quiet” and describe the brief content of this story.

War is tears and grief, destruction and horror, madness and the extermination of all living things. She brought misfortune to everyone, knocking on every house: wives lost their husbands, mothers lost their sons, children were forced to be left without fathers. Many people went through it, experienced all these horrors, but they managed to survive and win the hardest war ever endured by humanity. We begin the analysis of “And the Dawns Here Are Quiet” with a brief description of the events, commenting on them along the way.

Boris Vasiliev served as a young lieutenant at the beginning of the war. In 1941, he went to the front while still a schoolboy, and two years later was forced to leave the army due to severe shell shock. Thus, this writer knew the war firsthand. Therefore it best works- precisely about her, about the fact that a person manages to remain human only by fulfilling his duty to the end.

In the work “And the Dawns Here Are Quiet,” the content of which is war, it is felt especially acutely, since it is turned on an unusual side for us. We are all used to associating men with her, but here the main characters are girls and women. They stood up against the enemy alone in the middle of Russian land: lakes, swamps. The enemy is hardy, strong, merciless, well armed, and many times outnumbers them.

The events take place in May 1942. A railway siding and its commander are depicted - Fyodor Evgrafych Vaskov, a 32-year-old man. The soldiers arrive here, but then start partying and drinking. Therefore, Vaskov writes reports, and in the end they send him anti-aircraft gunner girls under the command of Rita Osyanina, a widow (her husband died at the front). Then Zhenya Komelkova arrives, replacing the carrier killed by the Germans. All five girls had their own character.

Five different characters: analysis

“And the Dawns Here Are Quiet” is a work that describes interesting female characters. Sonya, Galya, Lisa, Zhenya, Rita - five different, but in some ways very similar girls. Rita Osyanina is gentle and strong-willed, distinguished by spiritual beauty. She is the most fearless, courageous, she is a mother. Zhenya Komelkova is white-skinned, red-haired, tall, with childish eyes, always laughing, cheerful, mischievous to the point of adventurism, tired of pain, war and painful and long love to a married and distant man. Sonya Gurvich is an excellent student, a refined poetic nature, as if she came out of a book of poems by Alexander Blok. She always knew how to wait, she knew that she was destined for life, and it was impossible to avoid it. The latter, Galya, always lived more actively in the imaginary world than in the real one, so she was very afraid of this merciless terrible phenomenon that is war. “And the Dawns Here Are Quiet” portrays this heroine as a funny, never-grown-up, clumsy orphanage girl. Escape from an orphanage, notes and dreams... about long dresses, solo parts and universal worship. She wanted to become the new Lyubov Orlova.

The analysis of “And the Dawns Here Are Quiet” allows us to say that none of the girls were able to fulfill their desires, because they did not have time to live their lives.

Further developments

The heroes of “The Dawns Here Are Quiet” fought for their homeland like no one had ever fought before. They hated the enemy with all their souls. The girls always followed orders precisely, as young soldiers should. They experienced everything: losses, worries, tears. Right before the eyes of these fighters, their good friends died, but the girls held on. They fought to the death until the very end, did not let anyone through, and there were hundreds and thousands of such patriots. Thanks to them, it was possible to defend the freedom of the Motherland.

Death of Heroines

These girls had different deaths, just as they were different life paths, which the heroes of “And the Dawns Here Are Quiet” followed. Rita was wounded by a grenade. She understood that she could not survive, that the wound was fatal, and she would have to die painfully and for a long time. Therefore, gathering the rest of her strength, she shot herself in the temple. Galya's death was as reckless and painful as she herself - the girl could have hidden and saved her life, but she did not. One can only guess what motivated her then. Perhaps just momentary confusion, perhaps cowardice. Sonya's death was cruel. She did not even manage to understand how the blade of the dagger pierced her cheerful young heart. Zhenya’s is a little reckless and desperate. She believed in herself until the very end, even when she was leading the Germans away from Osyanina, and did not doubt for a moment that everything would end well. Therefore, even after the first bullet hit her in the side, she was only surprised. After all, it was so implausible, absurd and stupid to die when you were only nineteen years old. Lisa's death happened unexpectedly. It was a very stupid surprise - the girl was pulled into the swamp. The author writes that until the last moment the heroine believed that “there will be tomorrow for her too.”

Sergeant Major Vaskov

Sergeant Major Vaskov, whom we have already mentioned in summary“And the dawns here are quiet,” in the end he remains alone in the midst of torment, misfortune, alone with death and three prisoners. But now he has five times more strength. What was human in this fighter, the best, but hidden deep in the soul, was suddenly revealed. He felt and worried both for himself and for his girls “sisters”. The foreman laments, he does not understand why this happened, because they need to give birth to children, not die.

So, according to the plot, all the girls died. What guided them when they went into battle, not sparing their own lives, defending their land? Perhaps just a duty to the Fatherland, to one’s people, perhaps patriotism? Everything was mixed up at that moment.

Sergeant Major Vaskov ultimately blames himself for everything, and not the fascists he hates. His words that he “put all five down” are perceived as a tragic requiem.

Conclusion

Reading the work “And the Dawns Here Are Quiet,” you involuntarily become an observer of the everyday life of anti-aircraft gunners at a bombed crossing in Karelia. This story is based on an episode that is insignificant in the enormous scale of the Great Patriotic War, but it is told in such a way that all its horrors appear before the eyes in all their ugly, terrible inconsistency with the essence of man. It is emphasized both by the fact that the work is titled “And the Dawns Here Are Quiet” and by the fact that its heroes are girls forced to participate in the war.

An analysis of Vasiliev’s work “The Dawns Here Are Quiet” will be useful in preparing for literature lessons for 8th grade students. This is a surprisingly heartfelt tragic story about the role of women in war. The author touches on the problems of historical memory, courage and boldness, heroism and cowardice, inhuman cruelty. The fate of five young girls, for whom the first battle was the last, was truthfully and touchingly portrayed by the writer who went through the entire war - Boris Vasiliev.

Brief Analysis

Year of writing– 1969.

History of creation– the text was originally conceived as a story about seven heroes who were able to defend their combat objective at the cost of their own lives. However, having rethought the plot, adding novelty to it, the author changed the idea - 5 anti-aircraft gunners appeared who came under the command of Sergeant Vaskov.

Subject- feat of women in war.

Composition– narration from the sergeant’s point of view, through his eyes the author shows the events at the crossing. Memories, retrospectives, pictures from the past are a fairly common technique that harmoniously weaves into the narrative the stories of the destinies of the girls and the sergeant himself.

Genre- story.

Direction- realistic military prose.

History of creation

The first publication took place in the magazine “Youth” in 1969. Boris Vasiliev wanted to write a story about a feat that actually took place in 1942 in one small outpost. Seven soldiers who participated in the operation stopped the enemy at the cost of their lives. But after writing a few pages, the author realized that his plot was one of thousands; there are a lot of such stories in literature.

And he decided that the sergeant would have girls under his command, not men. The narrative began to sparkle with new colors. This story brought great fame to the author, because no one wrote about women in the war, this topic was left without attention. The writer approached the creation of images of anti-aircraft gunners very responsibly: they are completely unique and absolutely believable.

Subject

Subject completely new for military prose: war through the eyes of a woman. By artistically transforming reality, endowing the heroines with completely different individual traits, the author achieved amazing verisimilitude. People believed in real girls, especially after the film adaptation of the story in 1972.

Meaning of the name is revealed at the very end of the story, when the surviving foreman and the son of one of the dead anti-aircraft gunners come to the site of the girls’ deaths after the war to erect a monument. And the phrase that became the title of the story sounds like the thought that life goes on. The mournful calm of these words contrasts with the terrible tragedy that happened here. Main thought, embedded in the title of the story - only nature lives correctly, everything in it is quiet and calm, and in human world– storms, confusion, hatred, pain.

Feat in war is a common thing, but a woman fighter is something touchingly sacred, naive and helpless. Not all heroines understand what war is, not all have seen death: they are young, diligent and full of hatred for the enemy. But the girls are not ready to face a real war: the reality turns out to be worse and more merciless than the young “fighters in skirts” could have expected.

Anyone who reads Vasiliev’s story inevitably comes to the conclusion that the tragedy could have been avoided if the foreman and his “combat units” had been more experienced, if only... But war does not wait for readiness, death in war is not always a feat, there is an accident, there is stupidity , there is inexperience. The truthfulness of the work is the secret of its success and recognition of the author’s talent, and problems– a guarantee of the demand for the work. What this work teaches should remain in the hearts of future generations: war is scary, it does not distinguish between gender and age, we must remember those who gave their lives for our future. Idea of all the works of Boris Vasiliev about the war: we must remember those terrible years in the life of the country, preserve and pass on this knowledge from generation to generation so that the war does not happen again.

Composition

The narration is told from the perspective of Sergeant Vaskov, his memories form the main plot. The narrative is interspersed lyrical digressions, excerpts from childhood from memories of various years that emerge in the memory of the foreman. Through his male perception, the author presents images of gentle, touching anti-aircraft gunner girls, revealing the motives for which they end up at the front.

To introduce readers to the next heroine, the author simply transfers the action to her past, replaying the brightest moments from the character’s life. Pictures of peaceful life are so inconsistent with the horrors of war that, returning to the events at the crossing, the reader involuntarily wants to return to Peaceful time. Compositionally, the story contains all the classic components: exposition, plot, climax, denouement and epilogue.

Main characters

Genre

The work is written in the middle genre of military prose - a story. The term “lieutenant's prose” appeared in literature thanks to those who, having gone through the years at the front as junior officers, became writers, covering the events experienced during the Patriotic War. Vasiliev’s story also belongs to lieutenant prose; the author has his own unique view of military reality.

In terms of content, the work is quite worthy of the novel form, and the ideological component, perhaps, has no equal in Russian literature of that period. War through women's eyes is even more terrible because next to death there are heels and beautiful lingerie, which beauties persistently hide in duffel bags. Vasiliev's story is completely unique in its piercing tragedy, vitality and deep psychologism.

Boris Vasiliev and the dawns here are quiet analysis. “War is not a woman’s business”

Meaning of the name

Genre and direction

The essence

The main characters and their characteristics

Themes

Problems

Meaning

Conclusion

Narrative organization

1.7. Boris Vasiliev's story “The Dawns Here Are Quiet” in school study

Review of school literature programs

1.8. Age-related characteristics of high school students’ perception of fiction

Analysis of the work “And the dawns here are quiet...”

Five different characters: analysis

Further developments

Death of Heroines

Sergeant Major Vaskov

Conclusion

Brief Analysis

History of creation

Subject

Composition

Main characters

Genre