What genre is the story? Short story, short story, tale as epic genres

EVERYDAY NARRATIVE, as a new independent genre of ancient Russian literature, the everyday tale appears in the 2nd half. XVII century Elements of this genre were already present in hagiographic works of the 15th - 16th centuries, such as the hagiographic “The Tale of Peter and Fevronia”, “The Tale of Luka Kolochsky”. In the 1st half. XVII century the life begins to transform into an everyday story. This is, for example, “The Life of Uliani Osorina.”
Complex social relationships in society are depicted in “The Tale of the Appearance of the Unzhensky Cross.” Loving sisters Martha and Maria are separated from each other by the enmity of the spouses: the noble and poor Ivan and the rich, but not noble Logvin.
The most significant everyday story is “The Tale of Misfortune.” Unlike a historical story, its hero is a fictional, generalized image.
No less interesting and important is the everyday “Tale of Savva Grudtsyn,” which is based on a Western European Faustian motif.
The entertaining plot of the everyday story and the depiction of the hero’s inner experiences place it on the threshold of the Russian novel.
If the struggle between the “old” and the “new” in the stories about Mount Misfortune and Savva Grudtsyn ends externally with the victory of the “old” and the heroes suffer a fiasco in life, then in the picaresque short story “The Tale of Frol Skobeev” a new hero triumphs - a poor seedy nobleman, a petty clerk .
Household stories responded to the needs of what appeared in the 17th century. a new reader from the townspeople's merchant environment, small employees. The authors of everyday stories abandoned the etiquette, symbolic and allegorical imagery inherent in medieval literature. They are clear evidence of the beginning of the transition period.

50. The problem of “Baroque” in Russian literature of the 17th century.

– Term “B” - 18th century. Supporters of classicism: a designation for rough, tasteless art. Associated with architecture and will depict. is-yours. Later the term was extended to liter

- Adyal, Morozov. Liter 2 half 17 and 1 half 18 – Baroque.

– Belkov – negation of noun. R. baroque. Virshi, drama – the origin of classicism

– Mathauzerova: 2 types of baroque: national. R. and borrowing. Polish-Ukrainian

– Likhachev: only r. baroque, cat was borrowed. from Polish-Ukrainian liters, then acquired its own specifics. peculiarities.

– Eremin about the features of the baroque style in the poetry of S. Polotsky.

– Baroque features: 1) aesthetic. exaggerated expressions. pathos. 2) pomp, ceremoniality, external. emotionality, a jumble of styles, ornamentation.

– 2 aspects of Baroque: 1) how art. method and style 2) as a type of thin. creativity.

– Appears in the 2nd half. 17th century, served the emerging enlightened absolutism. An aristocratic phenomenon opposed to a democratic one. liter Will illuminate the character.

– Writers peered into worldly life, put forward demands for a reasonable approach to reality, despite recognizing the idea of ​​fate and the idea of ​​God, combined with didacticism. Fiction was built on this belief system. A system of allegories and symbols, as well as a complex structure of works

– The Baroque style prepared the phenomenon. classicism, received its most vivid embodiment in Virsch’s poetry and drama.

51. Ideological and artistic originality of “The Tale of the Mountain of Misfortune.”

“The Tale of Misfortune” was created among merchants in the 2nd half of the 17th century. The story is written in folk verse, based on an everyday story, accompanied by lyrical moral teachings. The hero of the story, Well done, he has no name, did not listen to his parents, who said: “Don’t go, child, to feasts and brother’s parties, don’t sit on a larger place, don’t drink, child, two drinks for one!” so as not to be beggars He “wanted to live as he pleased” and did the opposite, so he fell “into immeasurable nakedness and barefootedness.” And the story draws a parallel between Adam and Eve, who succumbed to temptation, and Well done. The image of a serpent-tempter, a “called brother,” appears, who gets him drunk and then robs him. Further, the parallel runs through the motive of exile - Well done “it’s shameful ... to appear to his father and mother” and he decides to leave “to a foreign country.” There he goes to a feast, where he tells people about everything and asks for help. They help him and give him advice based on Domostroevsky morality. Thanks to them, Well done “from his great intelligence he gained more belly than Starov; I looked for a bride for myself according to custom.” Misfortune-Grief learned about this and appeared to the Well-Behaved in a dream, foreshadowing: “you will be taken away from your bride... of gold and silver, you will be killed.” But the Good Man didn’t believe the dream, then Grief appeared to him in a dream in the form of the Archangel Gabriel, saying that bliss is to be poor and drunk. After this, the Good Man follows the instructions of Grief, but then he realizes his mistake: “I, the good fellow, have been pushed into trouble.” But Grief does not let him go, saying that the Good Man will not go anywhere from him. Having struggled in vain with Grief, “the fine fellow went to the monastery to take monastic vows,” which is how he was saved. The hero of the story is a degraded person, but he worries about it. This is the first image of a tramp in Russian literature, with whom the author sympathizes, but at the same time condemns. The image of Grief is built on folklore principles. Grief forces a person to choose the wrong path, but it is also retribution for his mistakes when it says: “And whoever does not listen to his parents’ teachings is good, I will teach him, O unfortunate grief.” This work is similar in genre to a parable or a lesson, because... full of morality given by concrete example. Also, the story is very close to folk songs about the Mountain; certain passages are of an epic nature (for example, the arrival of the Well done to the feast and his boast). The work is close to folklore, as can be seen in the comparisons: Well done - “rock dove”, Woe - “Gray hawk”, etc. Based on this, we can say that the story is a fusion of folklore and literature; it goes beyond genre systems, combining many genres and traditions.

52. Ideological and artistic originality of “The Tale of Savva Grudtsyn.”

“The Tale of Savva Grudtsyn” is a work created by an unknown author in the 60s. XVII century The work reflected the historical events of the first half of the century and many everyday features of that time.
The combination in the "Tale" of a romantic theme with detailed descriptions of the life and customs of Rus' in the 17th century. gave grounds to a number of researchers to see in this work the experience of creating the first Russian novel.
The Tale tells how the merchant son Savva from the real-life wealthy merchant family of the Grudtsyn-Usovs, finding himself on trade business in the city of Orel (on the Kama River, near Solikamsk), was seduced by the wife of the merchant Bazhen II. By refusing a sinful activity on the day of the Holy Ascension, Savva aroused the wrath of his mistress, and she, having drugged the young man with a love potion, persuaded her husband to refuse him the house. Suffering from unsatisfied passion, Savva thinks that he is ready to serve the devil in order to return his former love affair, and the demon immediately appears in the guise of a young man. Savva gives him his “handwriting”, in which he renounces Christ (however, due to illiteracy, he wrote under the dictation of the demon “without composing,” that is, without reading what was written as a coherent text). Subsequently, the demon plays a role similar to the “magic assistant” of a folk tale, helping the hero not only to achieve the love of Bazhen II’s wife, but also to perform military feats during the siege of Smolensk by Russian troops.
Returning to Moscow, Savva became seriously ill and decided to confess. The demons who appeared try to prevent him from doing this and show Savva his “God-marking letter.” And after confession, demons continue to torment the hero until the Mother of God appears to him along with John the Theologian and Metropolitan Peter, who show the path of salvation: just like the hero of “The Tale of Misfortune.”

", having become dependent on a hostile force, Savva ends his journey in the monastery.
The Tale has two main genre prototypes - a religious legend and a fairy tale, on the basis of which the author created a fundamentally new work. The use of two genre prototypes allows the author, according to the observation of A. M. Panchenko, to move in the course of the narrative from one plot scheme to another, which creates the “effect of disappointed expectations”, which is not typical for ancient Russian literature.
In addition, the author fills traditional plot schemes with features of living life in the 1st floor. XVII century with a description of real trade routes, training a young merchant’s son, recruitment into soldier regiments, etc. The Tale reflected both real-life demonological ideas of the 17th century and real historical events (the Time of Troubles, the siege of Smolensk 1632-1634, etc. ). Among the historical figures, in addition to Tsar Mikhail Fedorovich, the author mentions the boyars Shein and Streshnev, the steward Vorontsov-Velyaminov, and the Streltsy centurion Shilov.
In his views, the author of the Tale is a conservative; he opposes the new trends that the “rebellious age” brought with him; everything that violates traditional norms of behavior is for him “of the devil.” But the author himself involuntarily submits to the spirit of the time and turns out to be an innovator - both in mixing genre schemes, and in using surprise as an artistic device, and in depicting a developed love affair, and in vivid everyday sketches.

53. Ideological and artistic originality of “The Tale of Karp Sutulov.”

THE TALE ABOUT CARP SUTULOV is an ancient Russian short story that appeared in Rus' at the turn of the 17th and 18th centuries. It attracted readers with an entertaining plot, close to a folk tale. The rich merchant Karp Sutulov, going on trade business to the Lithuanian land, asked his friend the rich merchant Afanasy Berdov to provide his wife Tatyana with money if she did not have enough before her husband’s arrival. Three years later, Tatyana turned to Afanasy Berdov, but he broke his promise and agreed to give her 100 rubles only in exchange for her love. Tatyana goes to consult the priest, her confessor, and then the archbishop, but they promise her money on the same terms as the merchant. Tatyana makes an appointment for them at her home, one after another, and by cunning forces all three to climb into the chests, taking off the outer clothing of two, and dressing the archbishop in a woman’s shirt, which was completely unacceptable according to church rules. The voivode, to whom Tatyana delivered the chests, laughed at the unlucky lovers and imposed a fine on them, dividing the money with Tatyana.

In P., characters are introduced that are well known to the Russian reader: Tatyana, an ordinary secular woman, merchants, clerics who are not distinguished by moral behavior. In some ways, these heroes are akin to the characters of translated Western short stories such as “The Decameron” by Boccaccio. Tatyana shows ingenuity, cunning, and knows how to turn life’s difficulties to her advantage. P. refers to the democratic laughter works of Ancient Rus'. Many of her situations are comedic - deception, changing clothes, hiding in chests, and finally, the scene of the appearance of unlucky lovers in the voivode's courtyard. P.’s hidden laughter is also in her “inversion”: it is not the priests who instruct the woman on the true path, but she teaches them with the help of sayings close to the texts of the Holy Scriptures. Perhaps humor lies in the meaning of names.

The skill of the author P. indicates a professional writer, although it is not possible to determine exactly what social strata he came from. He had a good command of book techniques and was familiar with the peculiarities of oral folk art.

As the researchers noted, P.'s plot is not original. It is widespread in world literature. The Russian version is closest to the fairy tales found in eastern literatures - ancient Indian, ancient Arabic, Persian, Turkish, Afghan, etc. It was suggested that in Rus' this story first spread in the form of an oral fairy tale. However, in Russian, Ukrainian, and Belarusian folklore there is not a single work containing all the motifs of P. The fairy tale “The Clever Wife” by A. K. Baryshnikova, recorded in the Voronezh region, is closest to the ancient Russian plot, but it also has a completely different ending and is missing a number of important details.

This chapter mainly examines the history of the emergence of the genre of the story, its features, problems, typology. It is divided into two paragraphs: the first paragraph is devoted directly to the history of the genre, the second - to the typology of the story of the first third of the 19th century.

Definition of the genre of a story in modern literary criticism

Prose story - one of the genre varieties of the average epic form (along with the novella, short story and new, non-canonical poem), which is distinguished by the following system of constant structural features: 1) in the area of ​​​​the “event that is being told” - the dominance of the cyclic plot scheme, the situation of testing the hero and the action as a result of ethical choice, the principle of reverse (“mirror”) symmetry in the arrangement of the most important events; 2) in the structure of the “event of the narration itself” - its unreflective character, preference for time distance, evaluative focus of the narration on the ethical position of the hero and the possibility of an authoritative summary position, the tendency to rethink the main event and give it an allegorically generalized meaning (a parallel inserted plot or an additional one). analogue in the final); 3) in the aspect of the “zone of image construction” of the hero - the seriousness, unequal value of the depicted world of reality of the author and the reader and at the same time the potential closeness of the horizons of the character and the narrator (can be realized in the finale); correlation of the hero and his fate with known patterns of behavior in traditional situations and, therefore, interpretation of the central event as an “example” (often a temporary deviation from the norm), as well as drawing life lessons from the story told. Poetics: a dictionary of current terms and concepts / Ch. scientific supervisor N.D. Tamarchenko / M., 2008.

The story in modern Russian literary theory is medium in text volume or plot epic prose genre, intermediate between story And novel. In world literature, it is most often not clearly distinguished. In ancient Russian literature, the story was not a genre; this word denoted works of various types, including chronicles ("The Tale of Bygone Years"). In the 18th century, author's poetic stories appeared: I.F. Bogdanovich's "Darling" (1778) - "an ancient story in free verse", "Dobromysl" (late 1780s) - "an ancient story in verse." The satirical "Kaib" (1792) by I. A. Krylov, reminiscent of Voltaire's "oriental stories", is subtitled "oriental story". A.S. Pushkin used the word “story” to his poems: “The Prisoner of the Caucasus” (1820-21), “The Bronze Horseman” (1833). N.V. Gogol's early stories are shorter than his later ones, and Taras Bulba (1835) is comparable in length to some novels of the 1830s. M. Gorky gave his four-volume chronicle “The Life of Klim Samgin. Forty Years” the subtitle “story,” apparently emphasizing, first of all, that this is not a novel, but a narrative in general. In the last third of the 20th century there were writers who distinguished themselves specifically in the story because the middle genre was criticized less than the large one. This is the mature Yu.V.Trifonov, the early Ch.T.Aitmatov, V.G.Rasputin, V.V.Bykov. Literary encyclopedia of terms and concepts / ed. A. N. Nikolyukina / M, 2001.--1600 stb.

The original meaning of the word “story” in our ancient writing is very close to its etymology: a story is what is narrated, represents a complete narrative, therefore it is used freely and widely. “So, a story was often called a hagiographic, short story, hagiographic or chronicle work (for example, “The Tale of the Life and Partly of Miracles, the Confession of Blessed Michael...”, “The Tale of Wise Wives” or the well-known “Behold the Tale of Bygone Years”, etc. .). And vice versa, in the titles of ancient stories one can find the terms “Tale”, “Life”, “Acts”, according to the Latin “gesta”, “Word”, widespread in the West, with a moralizing interpretation - often “Parable”, later “ Butt "(i.e. example)". Vinogradov V V . , Favorite works: On the language of artistic prose. [T. 5]. M., 1980. Nevertheless, the old story is closely intertwined with most other narrative genres. In insufficiently differentiated, “syncretistic” ancient writing, the story is a general genre form in which almost all narrative genres are intertwined: hagiographic, apocryphal, chronicle, military-epic, etc. The story is characterized by a coherent presentation of not one, but a whole series of facts, united by a single core. The central line of development of narrative genres is given by secular stories, which contained within themselves the tendency of the development of fiction. At the same time, the comparative simplicity of social relations and their everyday manifestations and the primitiveness of the cognitive capabilities of literature determined the plot one-linearity, the “one-dimensionality” of ancient works, characteristic of the story. Only in the later period of medieval literature did everyday, adventurous stories, talking about “ordinary” people, and secular stories based on artistic fiction appear. This period is a stage in the development of Russian literature when the total mass of narrative genres begins to differentiate more clearly, highlighting, on the one hand, the short story, on the other, the novel, as already clearly defined genres. Such works as “The Tale of Karp Sutulov”, “About Shemyakin’s Court”, etc., which have not yet been terminologically isolated into a separate genre, are essentially typical short stories. With such differentiation of narrative forms, the concept of “story” acquires a new and narrower content, occupying a middle position between the novel and the short story. This is primarily determined by the scale of the volume and complexity of the reality covered by the work. But the size of the work does not play a decisive role in this case: a small story may be shorter than a long story (for example, L. N. Tolstoy’s story “Notes of a Marker” and the story “Blizzard”), while a large one may be longer than a short novel. However, on average, a story is longer than a short story and shorter than a novel; the size of a work is derived from its internal structure. Compared to a story, a story is a more capacious form, therefore the number of characters in it is usually greater than in a story. In the first third of the 19th century, in the dominant style, that is, in the style of various groups of the nobility, predominantly poetic stories and dramatic genres were put forward. Later, in the 30s, when prose began to grow with extreme intensity, the story came to the fore along with the novel. So, Belinsky in the 30s. asserted: “Now all our literature has turned into a novel and a story” (“On the Russian story and Gogol’s stories”). The development of the story is undoubtedly connected with the appeal of literature to “prosaic”, everyday reality (it is not for nothing that Belinsky contrasts the story and novel with the “heroic poem” and ode of classicism), although this reality itself can be perceived by the authors in a romantic aspect (for example, the St. Petersburg stories of N.V. Gogol, a number of stories by V. Odoevsky, Marlinsky, such works by N. Polevoy as “The Bliss of Madness”, “Emma”, etc.). But among the stories of the 30s. There were quite a few with historical themes (romantic stories by Marlinsky, stories by Veltman, etc.). But truly typical of the era, new in comparison with the previous stage, are stories with a realistic aspiration, addressed to modern, everyday life ("Belkin's Tales" by A.S. Pushkin, bourgeois and petty-bourgeois everyday stories by M.P. Pogodin, I.N. Pavlov, N.A. Polevoy and others; among the romantics - V.F. Odoevsky and A.A. Marlinsky). With the further development of Russian literature, in which the novel begins to play an increasingly important role, the story still retains a fairly prominent place. The story retains approximately the same share in the works of our modern writers. M. Gorky made an exceptional contribution to the development of the story with his autobiographical stories (“Childhood”, “In People”, “My Universities”), the structural feature of which is the great significance of the characters surrounding the main character. The story has taken a strong place in the works of a number of other modern writers. It is enough to name such popular works of Soviet literature as “Chapaev” by D.A. Furmanov, “Tashkent is a city of grain” by S.I. Neverov and many others. etc. At the same time, the “unilinearity” of the story, the well-known simplicity of its structure in the literature of socialist realism, does not come at the expense of the depth of social understanding of the reflected phenomena and the aesthetic value of the work. Vinogradov V.V. Plot and style. Comparative historical research, M.: USSR Academy of Sciences, 1963. - P.102

Genres of literature- these are historically emerging groups of works of literature that are united by a set of formal and substantive properties based on formal features.

Fable- a poetic or prosaic literary work of a moralizing, satirical nature. At the end of the fable there is a short moralizing conclusion - the so-called morality.

Ballad is a lyric-epic work, that is, a story told in poetic form of a historical, mythical or heroic nature. The plot of a ballad is usually borrowed from folklore.

Epics- these are heroic and patriotic songs and tales, telling about the exploits of heroes and reflecting the life of Ancient Rus' of the 9th-13th centuries; a type of oral folk art, which is characterized by a song-epic way of reflecting reality.

Visions- this is a genre of medieval literature, which is characterized, on the one hand, by the presence of the image of a “clairvoyant” in the center of the narrative and the afterlife, otherworldly, eschatological content of the visual images themselves, revealed to the clairvoyant, on the other.

Detective- This is primarily a literary genre, the works of which describe the process of investigating a mysterious incident in order to clarify its circumstances and solve the mystery.

Comedy- a type of dramatic work. Displays everything ugly and absurd, funny and absurd, ridicules the vices of society.

Comedy of manners(comedy of characters) is a comedy in which the source of the funny is the inner essence of the characters and morals of high society, a funny and ugly one-sidedness, an exaggerated trait or passion (vice, flaw). Very often, a comedy of manners is a satirical comedy that makes fun of all these human qualities.

Lyric poem(in prose) - a type of fiction that emotionally and poetically expresses the author’s feelings.

Melodrama- a type of drama whose characters are sharply divided into positive and negative.

Myth is a narrative that conveys people’s ideas about the world, man’s place in it, the origin of all things, about gods and heroes.

Feature article- the most reliable type of narrative, epic literature, reflecting facts from real life.

Song, or Song- the most ancient type of lyric poetry; a poem consisting of several verses and a chorus. Songs are divided into folk, heroic, historical, lyrical, etc.

Science fiction- a genre in literature and other forms of art, one of the varieties of fiction. Science fiction is based on fantastic assumptions (fiction) in the field of science, including various types of sciences, such as the exact sciences, natural sciences, and humanities.

Novella- this is the main genre of short narrative prose, a shorter form of artistic prose than a story or novel. The author of the stories is usually called a short story writer, and the collection of stories is called a short story.

Tale- medium shape; a work that highlights a number of events in the life of the main character.

Oh yeah- a genre of lyric poetry, which is a solemn poem dedicated to an event or hero, or a separate work of such a genre.

Poem- type of lyric epic work; poetic story telling.

Message(uh pistol literature) is a literary genre that uses the form of “letters” or “epistles” (epistole).

Story- a small form, a work about one event in the life of a character.

Fairy tale- This genre of literary creativity, h Most often, fairy tales contain magic and various incredible adventures. .

Novel- large shape; a work in which events usually involve many characters whose destinies are intertwined. Novels can be philosophical, adventure, historical, family, social.

Tragedy- a type of dramatic work telling about the unfortunate fate of the main character, often doomed to death.

Folklore- a type of folk art that reflects the general patterns of social development of peoples. There are three types of works in folklore: epic, lyrical and dramatic. At the same time, epic genres have poetic and prose forms (in literature, the epic genre is represented only by prose works: short story, novella, novel, etc.). A feature of folklore is its traditionalism and orientation towards the oral method of transmitting information. The carriers were usually rural residents (peasants).

Epic- a work or a series of works depicting a significant historical era or a major historical event.

Elegy- a lyrical genre that contains in free poetic form any complaint, expression of sadness, or the emotional result of philosophical reflection on the complex problems of life.

Epigram is a short satirical poem that makes fun of a person or social phenomenon.

Epic- this is a heroic narrative about the past, containing a holistic picture of people's life and representing in harmonious unity a certain epic world of heroic heroes.

Essay is a literary genre, a prose work of small volume and free composition.

The story and novella, along with the novel, belong to the main prose genres of fiction. They have both common genre features and certain distinctive features. Still, the boundaries between the genres of a story and a short story are often unclear, so difficulties often arise in defining the genre. And even experienced literary critics do not always cope with this task right away.

The history of the development of the story as a genre

This genre stems from ancient Russian chronicles and literature. The word “story” was used in the sense of “news about some event.” This word denoted works written in prose rather than poetic form. They talked about the events that took place at that time. These were chronicles, lives, chronicles, military stories. The titles of works of ancient Russian prose eloquently speak about this: “The Tale of Bygone Years”, “The Tale of Igor’s Campaign”, “The Tale of Batu’s Invasion of Ryazan”.

Later, from the seventeenth century, responding to the needs of the time, stories appeared about the lives of ordinary people, lay people - secular stories.

It was the secular story that was the fundamental basis of the story genre, which was developed in the literature of the 19th-20th centuries and in modern prose. It describes the natural course of life, often the harsh reality of time, in the center of which is the fate of the main character.

In the nineteenth century, the story became a favorite genre of famous Russian writers. A. Pushkin (“Station Warden”) and N. Gogol (“The Overcoat”) turn to her. Later, the genre of the story was developed by writers of the realistic direction: F. Dostoevsky, N. Turgenev, A. Chekhov, L. Tolstoy, I. Bunin. Later, in Soviet times, the genre was developed in the works of R. Pogodin, A. Gaidar, V. Astafiev. It is interesting that the story is the property of Russian literature. In foreign literature, the genres of short stories and novels are developing, but the story as a genre is absent.

The history of the development of the short story as a genre

The origins of the short story genre stem from works of folklore - parables, fairy tales, and oral retellings. The story, as a short work about a separate event, an episode from the life of the hero, was formed much later than the story, going through certain stages and developing in parallel with other narrative genres.

In the process of formation, there is a lack of clarity in the distinction between the genres of the story and the short story. Thus, A. Pushkin and N. Gogol preferred the name “story” for those of their works that we could define as a story.

Since the fifties of the 19th century, greater accuracy has been seen in the designation of the genre of the story. In L. Tolstoy’s “Notes of a Marker” the author calls it a story, and “The Blizzard” is called a short story, which fully corresponds to the definition of the genre. In the literature of the 19th and 20th centuries, the story gives way to the story, which is most widespread.

Characteristics of the story as an epic genre

The story is a prose literary genre. It does not have a stable volume. Its volume is larger than that of a story, but significantly less than that of a novel. The narrative is centered around several important episodes in the life of the main character. The presence of secondary characters is mandatory.

The composition often uses all kinds of descriptions (interior, landscape), author's digressions, and portrait characteristics. A branched plot containing additional storylines is possible. The content of the story is based on historical material, interesting events of human life, and less often fiction and fantasy.

Characteristics of the story as an epic genre

The story is a small epic work. The narrative is dynamic, dedicated to an important and interesting event in the life of the author or a fictional character. The composition is tense. The story has a single plot line, there are no additional plot lines.

With a relatively small volume, the author's use of artistic means is limited. Therefore, a large role is given to expressive artistic detail. The narration of events is often presented as a first-person account. This could be either the main character or the author himself.

What do stories and stories have in common?

• Both genres are prose.
• Compared to the novel, they are small in volume.
• There is a main character around whom the action is concentrated.
• Both the story and the story can be everyday, fantastic, historical, adventurous.

The difference between a story and a story

• The volume of a story is variable and can reach several hundred pages, and a short story - tens of pages.
• The story is characterized by a lack of intrigue. Its content reveals reliable periods of the hero’s life. And the story describes one or more incidents from the life of the main character.
• A clear, dynamic plot is characteristic of the story. A leisurely, smooth narrative is a feature of the story.
• Additional storylines intertwined with the main one are a feature of the story. The story has one plot line.
• The author of the story strives for historical and factual truthfulness. A story is a true fiction.
• The story is characterized by techniques that slow down the action: descriptions, portrait sketches, lyrical digressions. This is missing from the story and an artistic detail plays a role.
• Unlike a story, a story has one hero, there is no backstory that allows you to trace the development of character.
• There are no analogies of the story in other literatures; the story has such analogies.

LESSONS FROM PENZA TEACHERS

They are very different, Penza wordsmiths: young and experienced, having their own professional style or taking only their first steps in the teaching field. But they are united by one thing: the desire to learn (in no other region of Russia is there such a large audience at a methodological seminar), to exchange experiences with colleagues (lessons attended by up to fifty people are not an exception to the rule for them, but rather the norm), actively use quite unusual forms of work in the lesson, such as work in groups and pairs, role-playing and many, many others. Probably, in their searches, teachers are not free from mistakes, but they know: only those who do nothing make no mistakes. And they do, they teach literature. How? Differently. The unique teacher's handwriting clearly appears from the pages of the notes. They are presented as made by the teachers themselves. True, in the process of preparing the material for publication, minor stylistic corrections were made and methodological comments were given. Unfortunately, not all materials from the lessons of Penza teachers found their place in this seminary, I apologize to my colleagues who were ignored and promise to improve: to prepare for publication new lessons from teachers from Penza and introduce readers to new worthy names.

Seminary materials “Lessons of Penza teachers” for publication
prepared by Elena Romanicheva (GPI, Moscow)

Lesson from teacher I.V. Belonuchkina (school No. 51)

Features of the fairy tale genre (based on N.V. Gogol’s story “The Night Before Christmas”). 5th grade

Introductory talk(during the conversation, students may refer to the table of contents and relevant sections of the textbook for 5th grade “In the World of Literature”)

• Remember what three types literature is divided into. What do you know about each genus?
• Remember what epic genres we studied in 5th grade. What stories did you come across? What stories have you read on your own? Can you identify the genre variety of any of them?
• What type of story do you think N.V. belongs to? Gogol's "The Night Before Christmas"?

Work on the topic

Read carefully the topic of the lesson written on the board. Do you understand what we have to do today?

What can you say about the genre? fairy tale? (Here two genres are combined - a fairy tale and a story.)

In order to determine the genre features of a fairy tale, we need to remember the features of the fairy tale and the features of the story and see how they are combined within one work. To do this, let’s turn to the textbook and re-read a fragment from the section “Literary Fairy Tale” that we have already studied (pp. 78–79, part 1). Essentially, we have to do the same thing that the Author and the Old Woman-Fairy Tale did, but formulate our reasoning not in the form of a dialogue, but in the form of a table. The task is carried out according to options: the first - identifies and formulates the signs of a fairy tale, the second - the signs of a story.

The finished table may look like this:

After discussing and filling out the table, students are given the task: in groups, prepare a message-reasoning, the thesis of which could be the following statement: “The Night Before Christmas” N.V. Gogol - a fairy tale”, and the evidence can be taken from the table.

Homework

Preparing for creative workshop“What is he like, a fairy-tale hero?” (in the textbook - “Test of the Pen”, p. 222). And for this, each of you will have to become a writer-storyteller for a while and come up with your own fairy-tale hero, talk about his appearance and the events that reveal his character.

Let's remember what we know about the fairy-tale heroes of the story? They can be funny, like Carlson, ridiculous, like Pippi Longstocking. But, most importantly, they are unusual and always win when they stand up for good. Fantastic events happen to them, but they act in the real world.

Methodical comment

• This lesson offers a slightly different way of understanding the genre features of N.V.’s story. Gogol's "The Night Before Christmas". All work is structured as a preparation for an oral essay-reasoning on the proposed topic, while attention is drawn to the tasks given by the teacher: “identify and formulate”, that is, the attention of students is drawn not only to the content side of the statement, but also to its exact speech registration With this approach to completing a task, students learn to avoid descriptive language. It is also important to refer to the textbook, which is designed to help students in their work. Thus, the 5th grade textbook is used not only as a “collection of texts”, but fulfills its main function as a teaching tool.
• Homework is also interesting: preparation for a creative workshop, it is given as if “in contrast” to the type of activity that the student was engaged in in class. By offering a task in this formulation, the teacher follows the path proposed by M.A. Rybnikova: “From a little writer to a big reader.” This is on the one hand, and on the other hand, the proposed type of task - literary-creative (and not analytical, as was the case in the lesson) ensures the unity of emotional and intellectual activity.