Dystopia is an anti-genre, a special kind of literary genre, or, as it is sometimes called, a "parody genre" It was characterized, like all genres of this study:

o conformity of its samples to a certain tradition;

o a set of conventional ways and interpretations

If utopias were written in a relatively peaceful, pre-crisis time in anticipation of the future, then dystopias were written in a difficult period of failures. An anti-utopian novel is a novel that reveals the absurdity and absurdity of the new order.

The dystopian novel showed the failure of the utopian ideas. It is impossible to build an ideal society where there would be happiness for everyone

. Signs of dystopia:

o images certain society or states, their political structure;

o the image of the action in the distant future (assuming the future);

o in the given world from the inside, through the vision of its individual inhabitants, they feel its laws on themselves and are presented as neighbors;

o showing negative phenomena in the life of a socialist society, class morality, leveling the personality;

o narration on behalf of the characters, in the form of a diary, notes;

o the lack of a description of the home and family, as a place where their principles and spiritual atmosphere reign;

o residents of dystopian cities are characterized by such traits as rationalism and programming

If we take as the basis for the classification the originality of science fiction, which has become the main tool, denying the utopian dream, absurd reality and the dominant poetics of dystopia, then we can conditionally distinguish such varieties of the genre

o socio-fiction dystopia (Yes. Zamyatin "We", M. Bulgakov "Master and. Margarita", a. Platonov "Pit");

o sci-fi dystopia (M. Bulgakov "Fatal Eggs");

o Anti-Utoggia-allegory (M. Bulgakov "Heart of a Dog", F. Iskander "Rabbits and Boas");

o historical-fiction dystopia (V. Aksenov "Island. Crimea", a. Gladilin "Rehearsal on Friday");

o anti-utopia-parody (V. Voinovich "Moscow 2042", Lao. She "Notes on a cat city");

o warning novel (P. Buhl "Planet of the Apes", G. Wells "War in the Air")

Thus, utopia and dystopia have common features and features that distinguish them from each other in particular, such features of difference:

	Dystopia
based on myths	debunks various myths of various kinds The collision of myth and anti-myth, or myth and reality - the basis of dystopia
Conflict between good and beautiful	Conflict between a person and the state The main problem is the spiritual degradation of a person in conditions of violence
Utopia - a special kind of fantastic literature (but a special kind associated with the prediction of society)	Dystopia is not a kind of fantasy, although it uses elements of it. Fiction in dystopia has 2 functions: to reveal social absurdity and to give an artistic forecast to society. Dystopia is always associated with real processes that the reader must learn.
The external image of society ("the world of all")	Image of society "from the inside" through the eyes of a person who is experiencing a conflict with the state
Positive model of social system	Negative model of the social system

3 General overview of the novels There is Zamyatin "We", George Orwell "1984", About Huxley "Brave New World"

Every world-class writer has contributed to the development of the literary process. The Russian writer was no exception. Eugene. Ivanovich. Zamyatin, who received in the literary environment the prize "Englishman" himself. Eat. Zamyatin emphasized that he was not an emigrant, since his departure was forced. All the time he hoped for a return and for a "softening" of the political regime in his homeland. All his work would have been divided between affection for Russian nature, and love for European literature, and shaped his artistic tastes. It's paradoxical that. EZamiatin (like few Russian writers in the 20th century) significantly influenced European literature for half a century, his works were not published in. Russia, however, the name sounded like a symbol of the writer's honesty before the tyrannical ruler before the tyrannical power.

Was born. EAT. I. Zamyatin January 20 (February 1), 1884 in the city. Swans. Tambov province (now. Lipetsk region. RF), in the family of a priest. The childhood of the future writer passed on the shore. Don to the city of Echka, where there was a "sleepy kingdom, where behind the fences its unshakable and strange life slumbered" Later he will recall: "In the middle of the map is a circle: Lebedyan is the one that they wrote about. L. Tolstoy and. I. Turgenev. Narrated in. Lebedyan. Grew up under the piano: mother is an excellent musician. Gogol was already reading at four. Childhood - almost without friends: friends - books. I still remember the alarm from. Turgenev's "First Love" Gogol - was a friend "It is on this land that those impressions originate, which much later gave material for the future works of the writer: "County" (1912), "Alatyr" (1914) and other successors: "County" (1912), "Alatir" (1914 ) and others.

Future life. Evgenia. Zamyatin was associated with. Petersburg, where he went to enroll in. Polytechnical Institute. Student years coincided with the revolutionary events in. Russia in the early 1900s. The young man was waiting for unexpected events that were imprinted in his memory for a long time: student life, practice at factories, trips abroad on the steamboats "Russia", "the epic of the revolt on the Potemkin" (vividly animated by Agene in the 1913 story "Three Days"), etc. "Yes. Zamyatin was with the Bolsheviks, he was a Bolshevik himself, for which he was arrested in December 1905. Subsequently, he was expelled due to illegal residence in. Petersburg. This romantic period of his life. Yes. Zamyatin would later say:" Revolution was a young, fiery-eyed mistress - and I was in love with. Revolution and kokhanka, - and I bov zakokhani v. Revolution..."

At a time when the writer had to hide from the police, change addresses of residence, he persistently independently studied the theory of shipbuilding and ship architecture. Thin engineering Tal. Lant will be revealed later, when the prose writer is on business trips. England. For now. Eat. Zamyatin arranged his works in special articles, from time to time they appeared on the pages of St. Petersburg magazines. At the same time, he increasingly felt the need to write, although his literary debut in 1908 (the year he graduated from the Polytechnic Institute) was unsuccessful. Success in the literary field came to him in 1912 and when the story "Uyezdnoeot; Uyezdnoye" was published.

Since then life. Eat. Zamyatin has changed a lot. The appearance of the first works of the writer, and especially the story "District", was perceived as a literary event. Criticism approvingly responded to the works, as evidenced by the headlines in the newspapers: "Power, Approaching", "New Talent" He met many leading writers and literary critics: A. Remizov,. M. Prishvin, critic. R. Ivanov-Razumnik, etc. They became teachers (albeit somewhat rethought) for the writer. M. Gogol,. F. Dostoevsky and others. In modern for. Eat. Zamyatin Russian literature close to him were not realists -. M.. Gorky th,. I. Bunin,. A. Kuprin, and writers, emphasized symbolism and "modern" -. A. Bely,. L. Andreev,. F. Sologub. This, perhaps, influenced the author's appeal to dystopia as a genre of modernist literature, reducing the author to dystopia as a genre of modernism literature.

With the advent of the first work, it immediately became noticeable that. Eat. Zamyatin sought to develop his own style of creativity. Creative search made it possible for the writer to enter world literature as the author of a new genre - dystopia. It will be followed by the leading artists of world literature of the 20th century. After all, the artist was the first to use the synthesized method (neorealism) in the genre of dystopia, opening the way for other writers to further search. His novel "We" became a kind of forerunner of the dystopias of English authors. O. Huxley "This Wonderful World" (1932) and. J. Orwell ("1984"). However, compared with Western models, the work of the Russian author is more psychological, and has become a common feature of classical Russian literature. In addition, the novel is rich in specific historical material. This proved that. Eat. Zamyatin would never have been the fate of his homeland, which, unfortunately, was not always favorable to him. The way to victory was waiting for the writer abroad, overcoming the checks for the writer behind the cordon.

In March 1916. Eat. Zamyatin was sent to England. There, at the factory. Newcastle, with his direct participation, carried out the construction of ice breakers for. Russia. He developed projects, none of which without his signature did not get into the workshops. The talented ship architect was in love with icebreakers, the beauty of their shape, the femininity of the line (“Like Ivan the Fool from Russian fairy tales, the icebreaker only seems to be not robbed,” he wrote, “but if you pull it out of the water and look at it when it stands in the dock, you will see that the outlines of its body have become more rounded and more feminine than those of many other ships"). Eat. Zamyatin created them with the thought of Fr. Russia and for. Russia. There was a war and the country needed a strong fleet fleet.

At that time, the man had two hobbies: literature and technology, ship-waking, two talents of one master not only lived in him, but also positively influenced each other. Artistic fantasy helped to create drawings, the world of exact numbers and geometric lines, in turn, broke into the "chaos", "sleep" of creativity, helped to create plots and crystallized characters. That is why on the pages of the novel "We" we find numbers (names of the main characters), formulas (reflections on happiness, human values) just good luck, human values) just.

Two years of overseas posting seems to have had an effect. Eat. Zamyatin. The writer met the revolution in. Petersburg (Petrograd). At that time he was 33 years old and already then became a recognized writer. Mayster led a literary group of young and gifted St. Petersburg (Petrograd) writers - "Serapion Brothers" Behind was the path of a rebel, revolutionary, heretic ("Heretic" was his favorite word). It was in the post-revolutionary period. Eat. Zamyatin created one of his best works - the novel "We" However, the work was published in 1925 abroad, in translations. In the homeland of the writer, the novel was perceived by contemporaries as a cruel caricature of the socialist, communist society of the future, the communist supremacy of the future.

By the end of the 20s, a hostile "alienation zone" was around the figure of the prose writer. In the autumn of 1929, in the Prague magazine "Freedom. Russia", without the knowledge of the author (translated from English), the novel "We" Soon in. The Art Theater was removed from the repertoire of the play "Flea" (it ran successfully for four seasons). The publishing house "Federation" stopped printing the collected works of the author (on the fourth volume). Leaders were behind it all. RAPP, who claimed hegemony in literature and art. Forced to creative silence. Eat. Zamyatin sent a letter addressed to. JV Stalin with a request to go abroad. This decision was not easy for him, but under direct influence. M. Gorky, the Soviet government in 1931 granted the request. Eat. Zamyatin radyansky ranks in 1931 roci pleased with the prohannya Є .. Zamyatina.

Leaving his homeland, he had a glimmer of hope for a return. He lived in Paris with a Soviet passport. For a while, he even forwarded it to the secretary of the writers' publishing house. Leningrad 3. A. Nikitin money to pay for his apartment. When in. Paris in 1935 was opened. International. Congress of Writers, he became a member of the Soviet delegations.

The writer loved the new one. Russia, one might say, lived it, but he saw his writing duty and civic duty not in writing laudatory odes, but in something else. Eat. Zamyatin turned first of all to the more piercing points of time, with the help of sharp criticism and cruel truth: "The main thing is that real literature can only exist where it is created not by obedient and trustworthy officials, but by madmen, heretics, rebels, skeptics. And when the writer must be submissive, he cannot beat everyone, like Swift, like Anatole France, - then there is no bronze literature, but only paper literature, which is read today, and tomorrow people will burn clay soap. we will not exist until they stop looking at the Russian demos as a helpless baby until we completely shy away from some kind of new Catholicism, which is no less afraid of the heretical word of words.

The writer was not a pessimist, with whom they often tried to identify him (the reason for this, of course, may be his bitter anti-utopia "We"). In a late essay "About my women, about icebreakers and about. Russia", he outlined his attitude towards the Motherland: "An icebreaker is the same specific Russian thing as a samovar. Not a single European country builds such icebreakers for itself, one European country they do not sweat the ribs: the seas of freedom are everywhere, and only in Russia they are shackled with ice in a fierce winter - in order not to be cut off from the world, one has to break these fetters to break the kaidani.

Russia moved forward in a strange, difficult way, not like the movement of other countries, its path is uneven, disturbing, it goes up - and breaks into the abyss, it moves, destroying the "Roman" We ", which glorified the author's name to the whole world, quite accurately showed the "strange movement" that the writer was talking about. In addition, this work opened a new page in literature precisely due to its genre originality. Its appearance influenced the release of well-known dystopian novels by foreign authors, followed. inherited Є.. Zamyatina.

The piece dates from 1923. It was written in Soviet. Union, issued on. West and perceived as a terrible picture of a totalitarian state, which then turned into our state. The author was subjected to devastating criticism at home, and subsequently so persecuted that he was forced to emigrate.

The novel called "a warning about the double danger that threatened humanity" The word "we" justified violence against some people

Theme: picture overall structure totalitarian state, which is dangerous for humanity and society

Idea: a protest against tyranny, a call for the restoration of freedom in society, for the spiritual awakening of the individual

The action of the novel is relegated to the distant future - somewhere in a thousand years after the 20th century, when on. The earth went through all the wars and was born. A unified state built on the principles of mathematical laws: the sky is clear of clouds, and the cities are surrounded by impenetrable green walls, behind which free nature abounds, and food is prepared in accordance with chemical recipes from oil, and people live in large bright glass buildings, to fire is in front of everyone, and love is replaced by measured sex, and all levels are so much that they do not have names, differing from each other only by numbers.

The daily notes that we read were kept by a mathematician, a builder. Integral, an airship that was being prepared for the first flight into space. On this occasion, an appeal to the Thunder Madyans was printed in the state newspaper. It is worth paying attention: everything that the authors considered the key to a happy existence must be carried out. Accelerated.

Main character-. D-503 is a mathematician, therefore it is not surprising that for him the highest harmony, beauty - in numbers was a sincere slave of that system, which was established by a benefactor, where bondage, renunciation of one's own "I", one's own personality is proclaimed the highest good. D-503 is an educated person, well acquainted with the history and culture of the past. Having met with an extraordinary woman, he is normal. Citizen. United State, began to question what seemed to him the highest beauty of the mind. And learning from a woman about the existence behind. The great wall of natural hidden life, ready to help these free people to rise into space on the integrals, and as always, there were traitors. D-503 was subjected to psychological treatment so much that he not only expressed his beloved woman, but also sincerely returned uvsya to his own faith in. A single state as the highest achievement of mankind, the highest achievement of mankind. "After all, the mind must win" - this is how the novel ends

Many in the work are dictated by thoughts. Eat. Zamyatin about Soviet reality, where the simplification of the human personality took place, the cult of the leader was planted, the depreciation of the unique life in the "name of the happiness of the masses"

This book was perceived by many as a political pamphlet on socialist society. In 1921, this was only guesswork and almost fantastic speculation. Although something has already begun to be implemented, and their guards are in character. All-Russian. The Extraordinary Commission (VChK) began to monitor the communist order, starting in 1917 rokku.

However, the author argued that "This novel is a signal of danger threatening man and humanity from the power of machines and the state" human nature in general. The writer was the first to feel the terrible threat of future tyranny. He understood that when a person "in a single stream" lost himself, his will, his individuality, this could lead to a general tragedy of society. Gifted with a unique ability to foresee. Eat. Zamyatin understood the danger of leveling the personality, excessive cruelty, the destruction of classical culture and other thousand-year-old traditions.

Anticipating the first edition of the novel in. Russia - in 1988,. Vladimir. Lakshin, a critic known for his ability to read the secretly spoken word of political truth in literature, remarked that most of what was foreseen. Eat. Zamyatin, justified. Up to the events of the tragic famine in Ukraine - after all, in the novel, victory over hunger was achieved through starvation of the majority. Arguments for bringing his thesis to the researcher of creativity. Eat. Zamyatin gave enough, which, of course, did not allow doubting the skill of the author as a talented forecaster, whose predictions are unfounded.

The naivety of science fiction in this case was probably not due to imagination. Eat. Zamyatin did not extend beyond what he, as an engineer, knew fairly well. He did not come up with any offensive technical improvements, since he did not set himself such a goal. So prone to prophecy, capable of predicting in regard to the construction of the state and the nature of relations in it, the writer, as it were, consciously does not give free rein to his engineering fantasy. Even noting what the city of the future will look like, he allows himself to follow the descriptions found in the so-called classical utopias: the city-commune (after. Thomas. More), the city of the sun (after. Tomaso. Campanella) or the aluminum paradise in a dream. N. G. Chernyshevsky "What to do?" them in the literature, so similar to the communist, utopias would emphasize that his task is to test the totality of utopian ideas that have taken place in the history of European social and political thought for many years. A COST OF BAGATIOCH CENTURY.

This was the reason for the birth of a dystopian novel, a forecast for the future, if the present wishes to become one. The main theme of the novel is the depiction of the spiritual degradation of a person in conditions of violence, the depiction of the general structure of a totalitarian state, which has become extremely dangerous for humanity and society. The main idea was to show a protest against tyranny, a ban on degradation, a call for the restoration of freedom in society and a spiritual awakening of individuals.

The author chose a simple but rather eloquent title for his novel - "We" The word "we" became a kind of slogan designed to unite the humiliated and offended whom. Eat. Zamyatin sought to make it political with force, to build a new world. Thus, the word became a symbol of the consciousness of the masses. This choice of name is not accidental, since at that time the majority of literary groups claimed to speak on behalf of yua and speak in the name of mas.

For example, almost all proletarian poetry turned to this "eloquent pronoun": "We are all, we are in everything, we are flame and light. Victorious, / / ​​?? themselves a deity, and. Judge, and. Law" -. V. Kirillov;, "We are one, we are one, we are one" -. V. Kraisky, "We and. You are one. Body. You and. We are inseparable"-. I. Sadofiev. These slogans entered the fabric of the author's main book. Although he did something in a utopia, as if realized in the name of the majority and for its good. In the categoricalness of "we" there was a ban on "I". If the old race was a collective personality, then the modern mass of "we" is a collective facelessness, aggressive, that overwhelming such a conclusion. Eat. Zamyatin came not only under the influence of the bitter experience of the revolution, but also contemplating the experience of the patriarchal, peasant. Russia, about which his early stories are written. In the novel "We" it was as if we checked the reality of a dream that has accompanied human civilization for centuries and has now acquired the features of reality. The implementation of the theory, which promised a bright future, outstripped even science fiction, which was distinguished by a gloomy scale. Eat. Zamyatin was one of the first in world literature to predict the inevitable transformation of utopia - when trying to implement it - into anti-utopian literature, transferring the inevitable transformation of utopia - when trying to create it - into dystopia.

"We" - a novel about the future, will come in a thousand years. The action in the work took place in the future - in the XX century. In the novel, he recalled the past tense, i.e. XIX century. The leader dreams of how. INTEGRAL will be successful and will be able to conquer other planets with its help. Modernity. One. The state is terrible in relation to the XX century, but even more terrible, according to the author, will be the future, when totalitarianism will dominate not only on. Earth, but also in Universe All-world.

The author, at his own discretion, outlined the problem of the future of mankind. Man has not yet completely taken over nature, but he has separated himself from it with a wall beyond which it is forbidden to go. Ironically, she was called me. Green wall. This is the only greenery that is left in the city of lily of the valley escape can only be obtained in. Botanical Museum. In the spring, "behind the green wall, from the wild invisible plains, the wind carries yellow honey dust of some flowers. Here. This sweet dust. Lips dry. This somewhat interferes with thinking logically."

A child of "terrible years. Russia", he was critical of everything that was happening around. Back in 1918, the writer said that "the party of organized hatred" and "organized destruction" is not capable of "creating." Those who fanatically believe in such a party cannot possibly believe in such a party;

The novel gave rise to a negative attitude not only to political sentiments. Eat. Zamyatin, but also to his writing activity - his experiment with the word. The features of the genre required a special method from the author in the image. Eat. Zamyatin vipratsovuvav his special method, consonant with the style of the era, "neorealism", which can be understood as a combination of reality and fantasy. In his critical works, the artist developed the theory of neorealism and defined the main features of the new method. Eat. Zamyatin masterfully used the achievements of world literature, borrowing elements various directions and currents, straight lines and flows:

The society of transparent walls, the gigantic, super-powerful space machine "Integral", the unseen marvels of the technology of the future were fantastic. Human characters and destinies were real, their feelings and thoughts could not be crossed out by the will of the supreme ruler -. Benefactor. Such an artistic fusion created a "presence effect", made the story more exciting and brightly spitting and bright.

As for nature in itself, man has already made enough efforts to completely eradicate it (it feeds on products that are obtained from oil). At the same time, however, only "0.2 of the world's population" survived, but they were the best, the strongest, who had passed natural selection. That's what they built. Great. United. State. Life in the family is subordinated to sentries. Tablets, which determined what time they should - at the same time - sleep, get up, work, love. In order to govern the state, "there is a skillful, heavy hand of the benefactor" - this is the name of the supreme ruler (leader). In order to keep track of your daily routine, "there is an experienced eye. Keepers" To be happy is everyone's duty. Happiness is a fraction whose numerator is "bliss" and the denominator is "envy".

Eat. Zamyatin understood that it was possible to build an unprecedented space aero (a word typical for that era), but it was impossible to fly to happiness on it. You can't run from yourself. The progress of knowledge is not yet the progress of humanity, but the future will be as we prepare it today.

The action of the novel is moved to the distant future. After the end of the two-hundred-year war between the city and the countryside, people became citizens. One. States. The new order, which began with a war with its people home, was aimed at destruction. True, a small part of the population survived, but they were the best, the strongest. Life is ideal, cleaned, cleaned - a necessary condition for the existence of c. United. State. However, along with perfect cleanliness and order, supervision over the private life of citizens also came to human dwellings. Before us appeared "glass domes of auditoriums", "glass, electric, fire-breathing" And ntegral", "Divine parallelepipeds of transparent dwellings" Glass houses were seen through. The curtains on the windows can be lowered only for a while, when residents are allowed to make love. Man , came for this purpose (it makes no difference whether it is a man or a woman), had the right to be admitted to the premises only if there was a so-called "pink ticket for the presence of the so-called" erysipelas card.

Not only people, but also color, paints in it. The state is deprived of its former freedom. So, pink - has always been a symbol of motherhood and childhood - and it is in pink that the tickets that were issued for the period of one-time love are colored. Blue is the color of the sky, and it is in blue overalls that people dressed in blue are numbers. One. States, and their sheet numbers shine with gold. There are enough confirmations of such an enhanced inversion by color associativity. The color symbolism of the novel, or rather its almost complete absence, helped to feel deeper the ideological concept of the creator.

The writer was interested not so much in the signs of material well-being and progress as in the spiritual state of the future society and, above all, in the relationship between the individual and the state. In this sense, the novel "We" is not a fantastic dream of an artist of the era of socialism, but rather a test of the Bolshevik dream for its ability to really materialize, for its "humanity" of the population of the crystal aluminum paradise of the future of the future.

At first glance, everyone is equal and happy. And above all, the hero on behalf of whom the story was told. D-503 - builder "Integral" This is a man without a name, one of the mathematicians. One. States. He adored""square harmony" social structure, which carefully provides "mathematical infallible happiness" for anyone who lives on this earth. In a society of submissive "numbers" everyone received peace, appropriate occupation and complete satisfaction of physical needs. But it is necessary to give up everything that distinguished you from others, lose your individuality and become faceless "numbers" By accepting these conditions, you can get a "full" existence: this is life according to the laws. Hourly. Tablets, isolation from the world. Green wall, constant supervision from outside. Security guards. In such a sus community, everything was controlled and subjected to overly strict management: the music was replaced. Music factory, literature -. Institute. State. Poets, press -. State. Newspaper etc.. major event to go. One. The state was. Day. United. Consent when happy from the realization of power. The people confirmed the joy of their slavish position as a benefactor, people confirmed the joy in their slave camp.

D-503 kept a diary (the entire text of the novel is the hero's diary entries) and wrote it with the aim of using mathematical methods to prove the wisdom of the principles on which it is based. United. State. Polling his story sublimely, resorting to repetitions of truths, he entered into the thoughts of each issue - a citizen: "It's clear: the whole human history, as far as we know it, is the history of the transition from nomadic forms to. More and more sedentary. Doesn't it follow from here that the most sedentary form of life (ours) is at the same time the most perfect (ours) If people rushed about the earth from end to end, it was only in prehistoric times, when there were no nations, wars, trade, discoveries of different Americas But why, who needs it now?

D-503 considered the life of society. One. The state is quite normal, and himself - an absolutely happy person. He worked on the construction of a giant spaceship"Integral", designed to conquer the "beneficial yoke of the mind" of the inhabitants of neighboring planets, who are in the "wild state of freedom, the wild camp of freedom."

The hero of the novel appeared before the reader satisfied with his life. He was surprised, did not arouse any suspicion, that the city-state in which he lived was surrounded by a glass wall. There was no living nature in this city: you couldn’t hear the birds singing, the sun’s rays didn’t win in the puddles on the pavement The “square harmony” of streets and squares, terrible to the point of absurdity, the impressive uniformity of life of the “numbers”, the equality of people brought to the point of absurdity and aroused the admiration of the narrator . All "numbers" are dressed the same, lived in the same rooms of huge multi-storey buildings. These rooms in houses with transparent walls resembled cell-chambers, the inhabitants of which were kept under constant surveillance by the state offices.

They have no reason to envy each other. It can be assumed that everyone is satisfied with life and happy. However, some situations and aspects allowed us to doubt the plausibility of apparent happiness.

The hero is used to not separating himself from others: "I write what I think, or rather, what we think," he says, presenting himself as a cog in the state machine. The moral of the state is as follows: "Long live. One state, long live the numbers, long live the benefactor! Yes. Benefactor!".

Children - "numbers" were brought up in cruel conditions, only born babies were taken away from their mothers, and they will never see their parents again, and they will never see their children: "Every morning with six-wheel accuracy, at the same time, at the same minute, millions of people get up as one and begin to work. And, merging into a single body, at the same second they bring spoons to their mouths, go for a walk and go to the hall. Taylor exercises, go to bed "Science and technology were used in . United. State for education in the "rooms" of the so-called "unanimity" "I smile - I can not. NOT to smile: some kind of splinter was pulled out of my head, my head is easy and empty," he writes in his diary. D-50 the tin is easy and empty, "- write in the schodennik. D-503.

However, love suddenly broke out, which led him to rebellion. It was love, and not just infatuation, that was regulated by the law of sexual relations ("Les sexualis"), according to which "each of. Numbers has the right - as a sexual product - to any number" Reflecting human relations at the level of mathematical fixation and statistics, the author limiting point lowered the concept of spiritual nearness, which should be taken unconditionally as the basis of such mutually similar mutual relations.

Eat. Zamyatin deliberately used the word "number" instead of "number", as if emphasizing the foreign origin of this word. This explained his extreme attention to the sound of the word, its background shell, in each individual sound, recognizing in this a hint of possible associations and semantic possibilities. Yu Annenkov remembered that during one of the lectures given. Eat. Zamyatin, it was during the work on the novel that the writer discussed the topic: what do they say to the sound: what are the sounds to talk about?

"D and. T - in something stuffy, hard, in fog, in darkness, in musty. S. A - latitude, distance, ocean, haze, scope are connected. S. O - high, deep, sea, bosom. S. I - close

Can we accept the point of view that this is a random interpretation? novel.

The first companion of the hero -. O-90. In this case, the graphic roundness, which was repeated both in the letter and in the number, created a feeling of femininity at least, this law-abiding heroine, not too smart (“her speed of language” always exceeds the “speed of thought”), will also violate the order "Les sexualis", bringing to life the cherished thought about babies in the life of an omriya thought about a child.

V. One. The state was granted the right to motherhood and paternity only to "numbers" with certain physical data. O-90 is not one of them, and her dream is a kind of rebellion against the oppression in a person of her right essence.

The name of the other heroine is 1-330. First impression: "thin, sharp, stubbornly flexible, like a whip" Like a whip, and the graphic style of the letter in his name is Latin. And, which at the same time was read as a figure. And - a sign of the richness, individuality in a world where "we" reigns. Meeting with her awakened in the hero something really unlawful and therefore terrible for him - a soul woke up in him - a soul sank into a new one.

On the one hand, 1-330 performed its assigned task of awakening c. D-503 so-called "heavy" love. However, is she in love? day of creativity. Eat. Zamyatina, commented as follows: “A “romance” has merged into utopia - with jealousy, hysteria and a heroine” D-503 is desperately jealous of his beloved both to the Guard - S, and to the poet - R. And jealousy is, according to feelings, unlawful in. United. State. Yes, and the hero himself used to consider it to be inherent only to savages who once lived on this territory for a long time already lived on this territory for a long time.

The fact that the truth sounded repulsive for the hero was that he heard it from the lips during interrogation. The benefactor, who demanded to name the rebels: "They didn't need you only as the builder of the Integral." But then. D-503 3 has not yet expressed anyone, has not been able to step over the soul so recently acquired. Everything will turn out to be simple and understandable soon - after the removal operation performed on it. Fantasy. Then he listed all x, then he saw the death of the one he loved, then he was able to again enjoy the inevitable victory and universal happiness: "I am sure that we will win. After that, the mind must win, because the mind must win."

In essence, the novel clearly traces three storylines:

History of a love triangle. D-503, 0-90, 1-330

The struggle of the underground organization "Mephi" against. One. States (it ended tragically for the first, which testified to the impossibility of any dissent in conditions of violence);

The psychological line is a display of spiritual changes in the mind of the protagonist. D-503

Such a promise of victory and happiness sounded tragic irony at the end of the novel, but this is formal. D-503 openly protests against the leader. With his help, the Mephi members stole the spacecraft. INTEGRAL to whirlpool break beyond. One. States. However, this attempt ended tragically tragically. 1 -330 died in. Gas. ringing. V. D-503 "cut out the soul", and other like-minded people also died. The actual victory remains on the side of the heroes who did not want to live by the laws of evil and violence.

Extremely indicative in terms of the cruelty of the "numbers" in relation to each other was the so-called history. Great. Operations. This is the highest level of violence against a person to which she resorted. One. A state with the goal of liberating and completely destroying that part of the brain in which fantasy fantasy was born.

However, the terrible destruction of human flesh is the destruction of the human spirit, the mortification of the soul. All "numbers" were subjected to this operation forcibly after the uprising of the "Mephi" members, who opposed the totalitarian regime, was suppressed. Thus,. One. The state reliably insured itself against the repetition of revolutions and other dangerous manifestations of the free will of the community of the free will of the people.

The reader has witnessed the intervention of the state in the innermost world of the individual, in her subtlest spiritual spheres.

In a diary. D-503 spoke about his love for the revolutionary 1-330 and about a sudden illness - the emergence of his soul. Under the influence of 1-330, much has changed in his attitude. The process of soul trial has begun. It was for him the only chance to become a man, that is, to feel all the torments and joys of human existence.

However, after the operation D-503 has lost its noble features and personal preferences. He turned from a thinking man into a man who was easily controlled, that is, one who met all the requirements of a "worthy" citizen. United. State. Powers.

Such a hellish world was opposed in the novel by the world for. Wall. There lived the descendants of those few who left after. The Great Bicentennial War into the forests, but their society was at a primitive stage of development.

EZamiatin believed that only at the primitive social stage, when there was no state power yet, one can find a society whose members enjoyed almost complete freedom. He turned to a "long-gone" historical epoch, and did not fantasize about what it would be like in the distant future.

One of the main problems raised in the work was the search for happiness by a person. It was they who brought humanity to the form of existence that is depicted in the novel. However, even this form of universal happiness turned out to be not perfect, since this happiness is expressed in an incubatory way, contrary to the laws of organic development. The world invented by the author, it would seem, should be perfect and absolutely suit all the people who lived in it. But this world of technocracy, in which a person is a cog in a huge mechanism. The whole life of a person in this world is subject to mathematical laws and schedules by the hour, you have already noted this. Happiness has lost its main significance in such a life - it was not expected, it was not looked for, it was not even perceived as something given - it does not have such a category as the carrier of a certain abstraction in life, and under such conditions of life, the need for it is unlikely to arise. vinicne.

The next problem of the novel "We" can be defined as the problem of power. Indicative in this aspect, we consider the episode associated with the specifics of the annual event. Day. United. Consent and choice. Benefactor. On aitsikavish, and yet the worst thing is that people did not even try to think about getting a position. The benefactor is to choose someone other than himself. The benefactor seemed to them ridiculous that among the ancient Jews the results of the elections were not known prematurely. For them. A philanthropist is not only the embodiment of some divine, supreme power, it is himself. God descended to earth. The benefactor is the only being who Allow. Elena think. For him, the concepts of love and cruelty are inseparable. He is harsh, unfair and enjoys the boundless trust of the inhabitants. United. State of the United. Powers.

An equally important problem was the problem of the relationship between power and religion. For citizens. One. The states are their ruler. Benefactor - and was the embodiment of divine power. God. This point of view is inherent in most totalitarian states. Theocracy in a modified form was also present in Soviet. Union, and in the fascist. Germany: Religion was replaced by official ideology and dogma. Merging into modes and religions was considered necessary condition the strength of the state, but it also excluded any possibility of the presence of freedom in society.

The climax of the novel was the conversation of the protagonist. D-503 s. A benefactor who told him the formula of happiness: "True algebraic love for a person is certainly inhuman, and an indispensable sign of truth is its cruelty."

In order to finally solve the problem, the author introduced a revolutionary situation into the plot of the novel. There was a part of the workers who could not and did not want to put up with their slave position. These people in and some "machine" have not turned into cogs, have not lost their human appearance and are ready to fight with. A benefactor to free people from the power of technocracy. They decided to take over the spaceship, viewing the orist's possibilities. D-503, the builder of "Integral" It is for this purpose; .. For the same purpose 1 -330 seduced him,. D-503 fell in love and, having learned about their intentions, at first was frightened, and then agrees to help them. After visiting. Ancient. At home and communicating with wildlife, the hero has a soul, the presence of which is equated to a serious illness. As a result, it exploded. The green wall, and from there "everything rushed and swept over our city, cleared of the lower world."

At the denouement of the novel, the beloved woman of the protagonist died in the gas. Bell, and after the operation to remove the fantasy, he acquires lost balance and happiness

As a result, the idea of ​​​​a mechanized, devoid of any poetry, world was celebrating a victory: "With closed eyes, the balls of regulators were selflessly circling;. Bloodworms, sparkling, bent to the right and to the left; I suddenly saw all the beauty of this grandiose machine ballet "This observation of the monotonous, revolutionary work of the machine is a kind of apotheosis of the unfreedom underlying it. One. A state that turns a separate "I" into a faceless "we"; I" into a faceless "mi".

The finale of the novel brought us back to its title, had a special content underlying it.

"admissions that "I" may have some "rights" in relation to the State, and to assume that a gram can balance a ton - this is exactly the same thing. Hence the distribution: ton - rights, gram. NSU - duties; and the natural path from insignificance to greatness: forget that you are a gram and feel like a millionth part of a ton "These reflections of the hero almost completely corresponded with the conclusions of the same author: the totalitarian state was not based on the sum of individual "I", but on millionths of a huge and monolithic whole, which was called "we". It was indeed a dystopia that reflected the detrimental and unforeseen consequences of social commitment. An ideal as a dogma, claiming an absolute true ideal, like a dogma, claiming an absolute truth.

In connection with the peculiarities of the writing method, attention should be paid to the style of the author. First of all, this is the ironic, and sometimes satirical coloring of the protagonist's monologues, which made it possible to trace the author's attitude towards them. We present the reasoning. D-503 about "backward" ancestors: "Isn't it funny: to know gardening, chicken breeding, fishing (we have accurate data that they knew all this) and will not be able to reach the last step. This logical ladder: child breeding" To this must be added the special dynamics of the narration: the novel contains many purely cinematic methods of depiction (it suffices to recall the already indicated scene of "machine ballet"). The dynamism of style corresponded to the progress of modernization, industrialization, which covered the whole country, experienced a social revolution. This style made it possible to emphasize life in its movement, development, made it possible to depict pictures of the future in the tense dynamics of simplicity. United. State dynamics of everyday life of the Unity. Powers.

The peculiarity of the "zamyatin" style left its mark and the selection of language means of narration attracted the attention of an excessive number of scientific and technical terms: "tangent asymptote", phonolector, numerator, piston rod, etc. All this allowed deeper, more meaningful, and most importantly, more convincing , to convey the atmosphere that prevailed in a technocratic society, devoid of true ideas about beauty. Let's remember the thoughts. D-503 in the 12th entry: “I thought: how could it happen that the ancients did not catch the eye of the absurdity of their literature and poetry. as ridiculous and absurd as the fact that the sea in the ancients beat against the shore around the clock, and the millions of kilograms enclosed in the waves went only to warm up feelings in lovers "The hero-narrator constantly proved something, substantiated, explained to himself, being absolutely confident in the high harmony of the new time. Hence the wealth of rhetorical emotional constructions that made the monologues lively and full of polemical content. Therefore, despite the fallacy of many thoughts of the protagonist, all the time you feel him as a living person, unhappy with the plum in your blind faith in the miracles of totalitarian progress ("My heart was beating - huge, and with every beat it poured out such a violent, hot, such "joyful wave"). The poetic beginning, slipping through the nameless "number", created a sharp contrast with the motionless world of technology: "I am alone. Evening. Light fog. The sky is covered with a milky-golden cloth, if one knew what was higher there?" The language and style of the novel are closely connected with the problematics and figurative system, and the style of the novel is closely related to the problematics and figurative system.

Observations on the text of the novel - dystopia led to the conclusion about the high artistic merits of the work. In addition, the language and the actual problems of the novel were perceived today no less sharply than in the twenties. Unfortunately, most of the conjectures and fantasies. Zamyatin have become a harsh reality in our history: it is both a cult of personality, and annoying "free elections", and an omnipotent one. Archipelago. GULAG etc. Contrary to this, the cis connected with the fate of the post-communist, in particular post-Soviet, countries continued today. Subjects doubt the various ways of reforming, in tribnist or uselessness of the so-called "iron hand" in government. In this regard, the writer's novel was and remains a book - a warning, a suitable argument for the modern struggle of ideas. Those who had the opportunity to get acquainted with the novel "We" understood how important it was to be able to discern the essence of what was happening in society behind loud slogans. It is important to always and everywhere remain a person, not to follow the dubious "trends of the times", to reserve the right to sad times, to deprive yourself of the right to doubt.

That is why, in our opinion, dystopian fiction. Eat. Zamyatin for us was and remains a reality. Modern, largely "numbered world"

The fate of art in a totalitarian society also looked dramatic. Its only purpose is chanting. Benefactor and wise arrangement of life in unconditional supervision. Guards. Art, thus, is part of the bureaucratic machine that led the state (State Bureau of Poets).

The author's position in the novel is defined quite clearly - the writer emphasized the inhumanity of such a society; in his opinion, anti-humanity is a synonym for anti-morality. Eat. Zamyatin is sure that there was not and could not be an ideal society. Our whole life is just a striving for the ideal.

The author foresaw the gradual development of totalitarianism in the world "We" - a novel warning about dire consequences giving up one's own "I", even for the sake of beautiful theories. Eat. Zamyatin reflected how tragically and disastrously the lives of people in such a totalitarian state can turn out.

So, before us is a totalitarian state, unfortunately, not so remote from real examples that have taken place in real practice. The fact is that the author was not mistaken in his predictions: something like a boo-ulo was actually built in. Soviet. The Union, which was characterized by the disdainful attitude of the state towards the individual, forced collectivism and the suppression of the legal activities of the opposition. Another example is fascism. TSC. Germany, in which the voluntary conscious activity of man was reduced to the satisfaction of only animal instincts.

Novel. Evgenia. Zamyatin "We" became a warning to his contemporaries and their descendants. He warned against the danger of state interference in all spheres of life of civil society, which could be ensured by enim due to the strict regulation of "mathematical perfect life", the universal high level of the so-called "denunciation" system and perfect technosu "that thorough technique.

Thus, the writer in his novel reflected the future of a totalitarian state, began its development in. Russia in the twenties, as he saw it through the prism of his own thoughts on the problems that have troubled mankind for millennia. This is what makes this work relevant today. Unfortunately, further events that took place in. Russia and the world showed that the writer's concerns were justified: Soviet people survived both Stalinist repressions, and the era of the "cold war", and the so-called "stagnation" It remained only to hope that the cruel lesson of the past would be perceived correctly, in the right way, and the situation described by the prose writer in the novel "We" would have no analogues in further, there will be no analogues for the distant.

Aldous. Huxley (Huxley) (1894-1963) a descendant of a famous family, essayist, poet, journalist, at the time of the publication of "Brave New World" was already the author of several well-known novels: "Yellow. Rabbits" (1921), "Dance of Jesters" ( 1923), "Counterpoint" (1928). In 1932 (under the influence of the novel "We"), the novel "Brave New World; Mi") appeared, and the novel "Brave New World" appeared.

Aldous. Leonard. Huxley was born July 26, 1894. Godalming (county. Surrey), in a family that belonged to the scientific and creative elite. Great Britain: his grandfather,. Thomas. Huxley is a famous English biologist, his mother is the sister of a novelist. Humphrey. Ward, the poet's niece. Matthew. Arnold and the granddaughter of a famous teacher. Thomas. Arnold.

Such an impressive pedigree, together with an excellent upbringing and education, already provided opportunities in itself. Aldous showed all his abilities, he brilliantly demonstrated, even despite the fact that at the age of 14 he was left without a mother, and at 17 he almost became blind. During medical experiments, he injured his eyes very seriously. The family did everything to restore the guy's sight. After two years of treatment, vision was partially restored, and. Huxley was able to study at. Oxford University. Before my illness. Aldous always treated with humor. Once he even noticed that visual impairment, fortunately, "did not allow him to turn into a typical English gentleman, a graduate of a private school".

After graduating from university, the young man worked for some time in the teaching field, later began working in the London literary magazine "Atheneum" In 1920, he committed trip around the world, first time in visited. SIPidvіdav. SIPA.

In literature. Huxley made his debut in 1919 with a collection of poems. As noted by a well-known English critic. W. Allen: "It is impossible to imagine the 20s without Huxley. He made every effort to create the spiritual atmosphere of those years, it was he who prepared the turning point that came at the end of the decade".

A real literary sensation was the first novels of the young writer - "Yellow. Rabbits" (1921), "Comic round dance" (1923). Already in the first books, the author ridiculed the morality of the London rich, their paintings and poetry, English system education of that time. But the real talent of the novelist manifested itself in the next novel "Counterpoint" (1928), which presents an even sharper criticism of the "high-browed" environmental schcha. Although the writer spoke of the presence of England of "another nation" (people), ideologically he remained with his egoistic heroes, ideologically he got rid of guilt with his hisstical heroes.

In 1937, Huxley, together with his family (wife. Maria and son), left for. America, accepted American citizenship. V. USA began to work as a screenwriter c. Hollywood. In his novels of the 1930s and 1940s, satire receded into the background, and the concept of man moved closer to the modernist one, which treated man as a vile and dirty animal (the novel Monkey and Essence (1948)). The works of these years became serious, even with a slight inclination to mysticism to mysticism.

Since 1938 Aldous. Huxley fell under the influence of the Indian thinker. Krishnamurti, and thus began to get involved in Eastern philosophy and mysticism. So, the writer's worldview evolved from rationalism to mysticism. The ideological impasse led to the artistic impasse.

In the 50s, the prose writer became addicted to drugs in order to "run away from himself and not suffer physically" He described his drug experiences in the books "Gate of Perception" (1954), "Heaven and Hell" (1956), in the delusion "Island "(1962). The writer wrote that he saw things in a new dimension, they opened their original, deep, eternal existence for him, hallucinogens became a means of deeper understanding in religions and mystical spheres, a fresh perception of great works. For the artist, these preparations have become the "keys" to meditation, isolation, yoga have become the "keys" to meditation, isolation, yoga.

On November 22, 1963, the writer died, he committed suicide c. California. His ashes were buried in the family vault. Great Britain

For most readers, the name. Aldous. Huxley was associated with the novel "Brave New World", written for "sons and daughters". It owes its appearance in part to the novel. Eat. Zamyatin "We" About that. Huxley viewing enjoyed the artistic experience of dystopia. Zamyatin, was already evidenced by the fact that both works told about the rebellion of the natural human spirit against a rational, mechanized, thoughtless world, in both the action is changed. Essen for six hundred years ahead, "the atmosphere of both books is similar, and, roughly speaking, one and the same type of society, one and the same type of society is depicted ...".

The writer took the name of the novel from Shakespeare's drama "The Tempest", where the heroine. Mi-randa, once on a magical island, shouted out "Oh, a brave new world in which there are such people!". KSLI has invested a significant share of irony, since he depicts the world - any, but not beautiful, only not miraculous.

The main theme of the novel is the image of the general mechanism of world power, whose motto is "Community. Identity. Stability", images of the spiritual degradation of a person in conditions of violence

The idea is a protest against tyranny and mechanized "Ford. America", exposure and condemnation of the "communist paradise", with its inherent tendencies, the equation, the erasure of individuality, the identity of thought

The action took place in the future - in 632 E. F. Era. Ford took its countdown from the beginning of epoch-making production. Models. T cars. Ford. The novel also recalled the past, the "pre-Ford world", that is, the 20th century, when every person had parents, native home, but this did not bring people anything but suffering "The world was filled with parents, and therefore suffering, swarming with mothers, which led to various perverse b - from sadism in purity; filled with brothers, sisters, uncles, aunts, filled with distraught and suicidal. Feeling there is not enough one way out - my love, my child, my love, my child ... ".

Modernity. The world state was terrible in relation to the 20th century. A fully controlled society lived only in the present, the past did not exist. One of the slogans: "History is complete nonsense" "Zaporozhye ochachkuvala campaign against the past, museums were closed, historical monuments were promoted. Books published before 150 r. with trust, love - everything that can prevent a person from living happily - has been replaced by the herd spirit of living happily, - replaced by the herd spirit.

The main events in the novel took place in a fictional one. World state, lived according to the laws and norms of a super European civilization:

o extrauterine development of the embryo

o. Neopavlivske education: dislike for nature, passion for all kinds of country sports, erotic game between children, the formation of class consciousness, reading only reference literature

o. Training - on the principle of hypnopedia (in a dream)

o. Stability in society was ensured by the use of a light drug - soma and watching stereocontact films

o. Cleanliness, sterility and comfort - the key to Ford

o. Youth persisted until sixty, and then - the end

o. Promiscuity and permissiveness of sexual life, "each belongs to others"

o. Lack of loneliness and individual entertainment, everyone lived together

o. Herd training and joint

o. Conditioning against the fear of death, death is a natural process

o. Absence of wars "Soma will calm your anger, reconcile with enemies. Now everyone can be virtuous"

Children were not born here - artificially fertilized eggs were grown in special hatcheries. Here, too, fate was determined, children were released as socialized human beings - future sewer workers or future directors of the incubation -. Conditioning. centers. Thanks to different regimes, different faces developed - alphas, betas, gammas, deltas, etc. Epsilon is, while still embryos, people also occupied clearly defined places in society - from alpha pluses, highly intelligent leaders, to epsilon minus idiots, ugly ape-like creatures who did all the dirty work "The lower the caste - explained. Foster, "the less oxygen. Lack of it first of all affected the brain, and only then the skeleton. At 70% of the oxygen norm, dwarfs grow up. Less than 70% are eyeless freaks who don’t come to anything anymore ... ".

From birth, children were instilled with hatred for the lower castes and obedience to the higher. Even the color of the caste's clothing was clearly defined: "Alpha children wore gray. They have a harder job than ours, because they are very smart. It's good that I'm a beta that I don't work so hard. Also, we are much better than gammas and deltas. Gammas are stupid. They wore green, and deltas wore khaki. A. Epsilon is even worse. They are too stupid and therefore they could neither read nor write. Besides, they are in black, such a nasty flowery color."

From early childhood, kids were already introduced to erotic games, they were taught to engage in "co-borrowing" and enjoy it. And it is desirable that partners change as often as possible: after all, "each cash lies with others" Loyalty to one person was not approved in society, therefore, the norm of life in. Chudov. New. Sveta was unintelligible in connection with the choice of languages.

Main principle. World. States - the identity of society, herd education. Any manifestations of individuality were suppressed even in childhood: during sleep, children were repeated "a hundred times three times a week for 4 years" recipes for happiness, melted into the "truth" of "brainwashing", that is, learning in a dream, an entire army was engaged in hypnopedists who, in case of minor violations of "truth", gave a daily dose of soma, a mild drug; gave Denn a dose of somi, a light drug.

The most quarrelsome words here were the words "mother" and "father", because in the "wild antiquity" (XX century), even before artificial insemination and herd education, in fact, there was a private and uncontrollable love between people, because of which people "were doomed to terrible experiences were cursed for terrible experiences.

Space. Miraculous. new. The light is closed. Beyond the wire fence there was a world where people were allowed to live like savages, outside the influence of a super-European civilization, but residents. World. States, except for intellectual circles, had no right to go there "560,000 square kilometers, divided into four districts, each surrounded by a high-voltage wire fence. Touching the fence meant death" These are the so-called reservations, forbidden zones in the desert where wild people live the way all mankind lived by the end of the Era. Ford: they were born from real parents "Those who are born on the reservation are doomed and m and die - about 60,000 Indians and mestizos are completely wild, no connection with the world with a civilized world ...".

In order to visit at least one of these protected areas, you need permission, it's not so easy to get

Once in one of these reservations, which was located in. New Mexico, let's go. Bernard i. Lenin. Bernard. Marx found a high position in intellectual circles, and therefore had access to the reservation. It was he who proposed. Lenin to go there for the weekend.

In an Indian settlement. They met a strange savage with the Malpaisi - he is not like other Indians: he has light blue eyes and white tanned skin, spoke correct, but unusual English and constantly quoted. Shakespeare. The savage was called. John. From his mouth. Bernard i. Lenin learned that he is a son. Linda, whom he brought here. The director of the hatchery, because she became pregnant from him as a result of a mistake with the measures, she was taken in to live by savages. But in the settlement Linda got used to vodka very quickly, because she did not have soma, which helped her forget all her problems; behaved vulgarly and easily entered into relations with men, for which the Indians began to hate her and they disliked her. John for his white leather.

John was in two positions. Born of white "highly civilized" parents, he was raised on puritanical "savage" morality. John is an intellectual by nature, he was engaged in self-education and never parted with a book of works. Shakespeare, which he found in his childhood in one house. His mother taught him to read, but the happiest moments for the guy were when she talked about. World. The state, oh retinue behind the fence "Everything is so clean there and there is no dirt at all, and people there did not know loneliness, but lived together and were as cheerful and happy as at summer dances in Malpaisi, but much happier, and happiness is there every day, and happy there is a leather day ... ".

The main problem that interested the author: you can be happy in a totalitarian system. It turned out in. Chudov. New. Light was one unfortunate person -. Bernard. Marx. He belonged to the highest caste alpha fa plus, but he was very different from the other members of his caste. Special attention attracted by unusual appearance and behavior. Bernarda: brooding, melancholy, romantic, slightly taller than a dwarf. Therefore, knowing that. Linda and. John is also unhappy in the settlement of savages, he took them with him to the civilized world, hoping to somehow help them. But also in They turned out to be oppressed by the world state, society, which perceived them as a fashionable curiosity, savages. John refused to take Soma, constantly quoting. Shakespeare and protested against the free "reciprocity of painting".

Life in a super-European civilization. John was not taken, he still felt that. Shakespeare, suffering, motherhood and. God is an important human value. He was very depressed by the fact that his mother was ostium under the catfish, but, despite this, he often visited her in the hospital for the dying and was not afraid to show his filial love and affection "Linda was the last one in the long row of beds, leaning under S. Tina on the pillows, she watched the tennis championship semi-finals and smiled stupidly, meaninglessly. An expression of idiotic happiness froze on her pale, flabby face. "But more. John was amazed that wow. The dying mother became the object of children's conditioning against the fear of death. Eight-year-old twin children "crowded at the foot of the bed, looking with stupid animal interest" in the face. Linda, at the same time they were given sweets and made them laugh "Twins, twins. Like a worm that defiles everything around, they swarmed, desecrating the secret. Linda's death defiling the mystery. Linda's death."

Shaken by the death of his mother, John went to a soma dispensary and persuaded people to give up the drug. He tries to destroy the catfish boxes, but the angry deltas nearly killed him.

A savage, not perceiving human passions c. Chudov. New. Light, decided to leave the civilized society. The hero settled in an old abandoned air lighthouse and led a solitary life. He made himself a bow and arrows for hunting, laid out a territory for a garden and from time to time scourged himself, did not feel a passionate attraction to. Leninni.

Soon, "like vultures on a dead soul," correspondents swooped in; rumors of self-beating very quickly spread around the neighborhood, and crowds of people, "attracted by the magical spectacle of suffering from pain, accustomed to herd and joint", began to gather and "repeate frantic movements. Savage, beat each other like. Savage beat his own rebellious body"Once in a crowd of observers. John. Note. See Lenina, and then, in a fit of anger, he beat her with a whip to the death of anger, having beaten her to death with a batog.

When the next day, several young people arrived at the lighthouse, they saw a terrible picture, how "slowly, very slowly, the legs rotated to the right, stopped, hung motionless, they began to rotate again, I also slowly, but already to the left" The savage is dead - he committed suicide . Feeling the terrible threat of tyranny, I realized that when a person "in a single stream" lost himself, his will, his individuality, this led to a common tragedy of the social tragedy of society.

At first glance, in the civilized world, "standard men and women", "brood in uniform" lived well: they are provided for by everyone, no one has ever been angry or discouraged, everyone is happy and equally respected under the influence of a drug dose, they worked and had fun, enjoyed emotionally easy life and permissiveness in feelings, any desire was immediately satisfied, all bodily ailments of the senile eku were eliminated, there was no place for prophets and egoists who were heroes of the culture of the past. But behind this picture of "crystal" happiness came a terrible world of violence, where there was no sympathy, no soap is angry, where a person was of no value to a civilized society, where her dreams and desires are worthless, where a false ideology has established a wide production of drugs , which "caused capacious hallucinations during", but in reality - clouded the brain and killed any manifestations of humanity" People had what they wanted, they are not able to desire what they cannot get. cannot go beyond the established behavior. And if something is wrong, that is somatic behavior.. And if it is not so, then soma ... ".

In the brave new world, in order to create a stable and identical society, sacrificed art, true science, religion, passions - paid a high price for their happiness. MATERIALLY, the security of society has been achieved by the rejection of truth and beauty, "because the power has been seized by the masses of the masi."

Aldous. Huxley, continuing the tradition. Eat. Zamyatin, showed in general forms the mechanism of the totalitarian system. At the top of the class pyramid - himself. Ford, who created in the early XX in an automobile company. He shakes him in. World state, like. God was called - "Lord. Our. Ford" His teachings were spread by ten world. Golovkontriv, "truthful" who established the laws and controlled their implementation, they were tormented by all social castes - alphas and betas, who in turn obeyed the gammas and deltas. They have one goal - security and stability in society. And the basis for the pyramid was epsilon, their slavish peace of mind, "illiteracy and ignorance", on which any tyranny built, on which tyranny was built.

Conflict has become traditional for dystopia. John and. World. The state found itself in an open clash between the hero and the system. But in the novel there is also a psychological conflict, which revealed the spiritual struggle of a person for human qualities in her, for her individuality and inner freedom. This fight ended tragically for. John, which testified to the impossibility of any dissent in conditions of formal violence, but won. World. State. In fact, the moral victory remained on the side of the hero, who did not want to live according to the laws of evil and violence.

All the author's sympathies are on the side of his main characters. Bernard and. John. In the image of images. Huxley used the grotesque as a means of reproducing the spiritual degradation of society. People in the novel are presented not as living beings, but as puppets. Physically they existed, but spiritually they were dead. The writer turned to detailed portrait characteristics in order to more vividly and fully present the world of human feelings and passions.

Depicting distorted and terrible pictures of the future development of mankind,. Huxley seemed to be suggesting to society that the future should not be viewed with particular optimism, that the 21st century would not be an exception. But it is precisely such books that helped to better understand the future, so that humanity would be ready for any random upheavals in its life. difficult history and made every effort to prevent the dystopia from becoming a reality, at least in the form in which it is presented by an outstanding English novelist.

He took a special place among the constellation of writers. George. Orwell (1903-1950). He had to become a world-wide writer, whose works, exciting opinion, excited, caused discussions always and everywhere where they only read, and in 1984 it was announced. UNESCO year of the novel. J. Orwell. This is a figure that is contradictory in many ways: both in terms of fate and in terms of creativity.

The writer, about whom a huge number of literary works have been written, whose books have been translated into all languages, filmed and television screened, for a long time remained unknown to English literature and was well known. Erika. Blair, who worked under a pseudonym. George. Orwell. As a person, he was known in this circle even for writing his masterpieces, thanks to his documentary or journalistic activities. However, for the general reader, the question of ignorance existed. The fact is that. Orwell asked his friends and colleagues not to write anything about a person named. Eric. Blair. He explained his desire simply: there is no point in creating legends, and the truth will turn out to be rather unattractive, because the life of a writer is a chain of continuous compromises and failures. Friends adhered to the ban, but wrote about. Orwell and his grumbling gradually, from individual details, forming a complete picture of life. Only Professor Krieg, a well-known political scientist, decided to create an academic biography of the writer, published in the late 80s of the 20th century.

Was born. George. Orwell in. India in the village. Machihare on the very border with. Nepal (at that time India was part of the British Empire) in the family of an official of the English administrative apparatus. Family hiking silt from an old aristocratic Scottish family. Father of the future writer Richard. Blair, faithfully served. The British crown until the very retirement, but the wealth never lived on. Mother. Erica was the daughter of a French merchant. When. Eric was eight years old, he was sent to an elite private school in the county. Sussex. FamilySim "I

was not rich, so study in a prestigious. Eton Public School. Orwell could only because he was a scholarship holder. After graduating from this school, he left. England and went to Burma, where from 1922 to 1927 he worked in the Indian Imperial Police. But he did not serve in the police for long: the bad climate, which disturbed the health of the young man, did not allow him to live in this North Asian country. Yes, this service was not in his soul, as he himself said, and filled him with hatred for imperialism. But there was another reason: already in his youth. Eric felt another vocation - writing. Returning to. England 1927. Orwell decided to become a writer.

The stages of an artistic career were not easy - no one wanted to print his stories. In 1928-1929. Orwell lived in Paris, continuing to write works, which he then destroyed. More than once hunger looked into his eyes, and he had to live in the poorest neighborhoods or travel by roads, begging and stealing. I had to take on the hard daily work. One by one he changed occupations: from a dishwasher he turned over to rapping, from a private school teacher to an assistant seller in a London bookstore. Working in a bookstore sharpened my interest. Erica to the problems of mass culture. Began to get involved in TV orchistyu. Dickens, battalion. Flaubert. Zola. During the years of the hungry existence, the writer lived under a pseudonym. Burton, yes, perhaps he signed his manuscripts, disappeared.

He described everything he experienced in the book Dog Life in Paris and London (1933). Among the first publications was the essay "Return", signed. Eric. Blair. It was published in a magazine in 1931. Only since 1934. Orruell can already exist on literary earnings. Choice of a common name. George and surnames. Orwell (by the name of the river in the area where the writer spent his childhood), the researchers later explained that. Blair wanted to carry out a kind of act of breaking with the past, thereby affirming his second "I", wanting to become simple, honest, let's just say, honestly.

About the convictions of those years, the prose writer wrote this: “Until 1930, I did not consider myself a socialist. In fact, I did not then have clearly defined political views. through the theoretical takeover by a planned society"Takeover. Orwell's socialism intensified after he, on the assignment of one of the "left" publishing houses, studied the working and living conditions of miners for several years. North. England. The result of this study was a documentary book in the form of a reportage with comments, which was published in 1937 under the title "Road to. Uigenname" Road to. Weigen".

Since 1935, having received the opportunity to live on royalties, the artist moved to the village and opened a small shop. He, however, did not justify himself. About his writing inclinations of that time, a man in his "autobiographies. Ichne note" wrote: "The greatest influence of my contemporaries had on me. Somerset. Maugham: I admire his art of direct, without pretentiousness of narration. In addition to writing, I love loneliness most of all, I like English cuisine and English beer, French red and Spanish white wines, Indian tea, strong tobacco, fireplaces, candles and cozy armchairs. wives are exactly the same as mine, we are exactly the same as mine."

fundamental changes in the writer's life began his decision to travel to. Spain in 1936, after the start of the civil war in this country. Six months prior to departure The writer married Spain, and a friend accompanied him on this journey (if one can call it the active participation of young spouses in the war on the side of the republican Spanish government). About the beginning of his stay in Spanish

Orwell wrote: "In the first days and weeks of the war, it was not easy for a foreigner to understand internal struggle, which was fought between various political parties committed to the government. Through a series of random events, I entered, like most foreigners, to the international brigade, and to the police. Rome (the united workers' Marxist party), to the so-called Spanish Trotskyists"Four months he spent on the Aragonese front as part of the republican militia, was badly wounded.

But very soon the prose writer "saw the light", made sure that socialism can be not only democratic, but also ugly, built like the totalitarian Stalinist model. It was here that he began to fight against Stalinism and Bolshevik-communist totalitarianism. At the same time, he survived serious illnesses - first of the throat, which he was shot in the war by a fascist sniper. Spain, then - pulmonary tuberculosis, I cue and finished off the writer 1950 Rocca 1950 Roca.

In 1943. Orwell began work on the anti-Stalinist satirical tale "Animal Paradise Farm", full of reviews of Soviet reality between the two world wars. However, for a long time could not inscription. Uvat, although he finished in February 1944. Stalin, at the cost of incredible sacrifices, won on the fronts of the war. Ministry. Information. Great Britain demanded that the writer choose other animals instead of pigs to portray the partocratic Soviet elite, so as not to offend his uncle. Joe, as they called it. Stalin was called British. Stalin of the English.

The writer, having completed the work, in his own words, "for the first time was truly satisfied with what he did" and made every effort so that he could see the world

frightening impression on. Orwell produced atomic bombs dropped by the Americans on. Hiroshima and. Nagasaki. The writer realized that the world was in great misfortune, and set about writing a new work - the ant tyutopian novel "1984; 1984".

Exhausted by tuberculosis, he died on January 21, 1950, before the triumph of his novel. Critics put. Orwell in world literature on a par with such writers as. Jonathan. Swift and. Franz. Kaafka. In his will, he wrote that he would be buried in a regular cemetery. The epitaph contained the following words: "Here lies. Eric. Arthur. Blaurour. Blair."

The main work of the writer was the novel "1984" A dystopia in genre, it arose during the period of active comprehension by artists of the 30-40s of the 20th century of the problem of the degradation of the human community. This social disease turned out to be different - as the ideology of Stalinism, as the doctrine of racial and national superiority, as a complex of ideas of "aggressive technocracy" - but its essence has always been the same: an attitude towards the depreciation of the self of the human person and towards the absolutism of power. In this sense, a novel Orwell did not become something original, just as the writer did not invent anything new at the level of composition or plot of creativity.

While still working on the fairy tale "Animal Paradise Farm", the artist became interested in the novel. EZamiatina "We" Oh himself wrote this: "I'm interested in this type of book, and I even make a sketch of my own, which I may eventually write" Later he wrote a review of the English edition of the novel. Eat. Zamyatin 1946 and a preface to the Ukrainian translation 1947. Roman. Eat. Zamyatin influenced to a certain extent. Orwell. But his work was Uttevo different from the novel "We": it reflected reality, filled the quarter of a century that separated the novel. Orwell from the work. Eat. Zamyatin, and therefore the English writer was able to embody in an artistic form all the features of totalitarianism, all forms of its manifestation, to show the anti-human content of the "communist paradise", its detrimental effect on society as a whole and on the individual zokre, which was a devastating spit on society with a zagal and on the people of zokrema .

Orwell also used the artistic experience of dystopia. Aldous with the slogan "Brilliant new world", which he also knew well and with which he compared the novel in the mentioned review. Zamyatina, noting: “In both works, one can see the rebellion of the natural human spirit against a rational, mechanized, soulless world, in both the action is transferred six hundred years ahead. ".

However, not to the greatest extent, the prose writer continued the traditions of satire. Jonathan. Swift, whom he admired and considered a prophet and quoted more than once in his journalistic works. He developed the traditions of the great satirist, used his images and satirical arsenal in describing the police machine of totalitarianism, the rigid apparatus for suppressing free thought.

The novel "1984" was published in July 1949 and immediately caused several responses - from delight to sharp rejection. The author of the question was especially worried about the lack of understanding by the critics of the real pathos of creation raphosu creation.

For the first time, the idea of ​​​​such a novel arose in. George. Orwell back in 1943 at its height. Second World War. The original version indicated the title "The Last Man in Europe." Three years later, at the end of May 1947, he informed his publisher. Fred. Warburg that he finished work on: "a novel about the future, that is, a kind of fantasy, but in the form of a realistic novel. This is the difficulty: books should be easy to read" The author planned to submit a ready-made manuscript to the publisher early next year, but the exacerbation of tuberculosis forced him to interrupt his work for a while: he had to spend seven months in the clinic. East Kilbread (near Glasgolbride (near Glasgow).

Work on it. George ended up on the island. Yura, in an old farmhouse, where he lived after the death of his wife with his adopted son and where later, when his health deteriorated, his younger sister - I moved. Avril. Here he moved away from the world, met with friends.

October 22, 1948. Orwell reported. Warburg that the book would be ready in November, and asked for a typist to work with him. But a typist who would agree to work in such difficult conditions was not found. Osya, and therefore he himself had to reprint the manuscript, and twice through serious corrections. But the writer kept his promise, and already in December. Warburg received the text of the novel.

For a long time the author did not name his work, all the names did not suit him. On the last page was the date 1948, which indicated the time when the author's corrections were completed. The writer rearranged the last two numbers, and in this form the book was given away.

Orwell wrote a novel in 1948 and told in fact about his time, trying to open the eyes of the world community to the truth that she stubbornly did not want to see. Therefore, there was no need for him to postpone the action for many years or centuries ahead, he simply rearranged the numbers of the year when he wrote the novel, in places and called his work "1984", warning the world that evil was already close, that it was necessary to come and die.

The plot of the work: Oceania with its capital at. London included. UK,. Northern and. South. America and became one of the world blocs next to the enemy. Eurasia and astasia. In this police community, which professed the principle of angsots (English socialism), everything was under the control of the authorities - work, personal life, free time citizens, their actions and even thoughts. The protagonist of the novel. Winston. Smith, barely 40 years of age, is just an inconspicuous cog in the mechanism of will suppression. The institution where the hero served is also interesting - "a gigantic pyramidal building, shining with concrete, from the window of which the hero sees party slogans every day:" War is peace! "," Freedom is slavery! "," Ignorance is strength! "" And large posters were hung on each platform, which depicted "a huge, more than a meter wide face of a man of about forty-five with a thick black mustache, coarse, but masculinely attractive" This is an invisible dictator. Oceania, whose power extended to everyone. His portraits were inscribed: "Big brother is watching you."

I lived in such an atmosphere. Winston, living in a small apartment, where a two-way television screen was installed, which followed his every step one April day, when he came home from work, the hero decided. You keep a secret diary and chose a secret place in the room from where the television screen would not see it. In the diary, the man did not try to sort out the past and the present. After writing several pages, Smith unconsciously but for himself automatically brought out the phrase: "Down with. Elder. Brother!",. And, having written it, he was horrified, because if the police find out about the diary, then there will be disasters, it will be famous.

Arriving at work the next day. Winston diligently fulfilled his duties - he falsifies old issues of the Times newspaper. The job was to make past events look the way the authorities needed at the moment. This meant that the past was in charge of the party. And if it was to her advantage that it looked different than it actually was, then it meant that the facts that were once published in the newspaper had to be changed. Monoton work was interrupted for two minutes by hatred, during which all employees condemned the main enemy. Oceania -. Goldstein, who is allegedly guilty of all the misfortunes of the people. During this semi-crazy ceremony. Winston noticed a dark-haired girl. Julia. At first, he thought that this activist was in the Thought Police and was spying on him. But it turned out that. Julia, who was in. Youth Anti-Sex Union, followed. Smith for a very different reason. Seizing the moment, she quietly handed him a note in which she wrote only three words: "I love you!" the meeting is far from the TV screens, far from the TV screens.

Winston had already been married once, an active party worker, who looked at sex as an unpleasant duty necessary for the state. When the hero could not conceive a child with his wife, she left him. And now love came to him, which must be hidden from strangers. Winston and. Julia went out of town, to a quiet town, where they became lovers. Together they spent a wonderful time sharing the secrets of the spiritual life. Julia admits that she became a party activist from her own thoughts about danger. In fact, she loved life and hated her job. She sometimes visited the quarters of the rejected caste of people - a break, received real coffee and chocolate, not at all like surrogate substitutes for "Victory!",. Which were attributed to all ordinary members of the party and to the members of the party.

Winston, wanting to know more about who the proles were, also visited those blocks isolated from the city (although this is not allowed for members of the party) and one day got into Mr.'s store. Charrington, helping him find "the key to understanding the past" During one of the visits, Mr. Charrington gladly agreed to surrender. Winston a secret meeting room, in which there were no hateful televisions wounding. This place has become a paradise for lovers, where you can enjoy freedom. I. Winston, and. Julia guessed that there must be more dissenters who, just like them, hated the totalitarian and reitarian regime.

In search of connections with the rebels, the hero of the novel becomes closely acquainted with. O. Brien, member of the Inner Party. Smith suggested that given his ironic remarks about the system of power,. O. Brian must know about the rebellion against. Senior. Brother. Together with. Julia, he came to the house of C. O. Brian and said that there really was a rebellion, and its leader was the same. Goldstein, whose Oceania was considered the main enemy of the party. O. Brien gave the young people a book. Goldstein, which explains the principles of building power in. Oceania, its outer and domestic politics based on cruelty, lies and violence of violence.

Inspired by hope for a change for the better, Winston and. Julia once again enjoyed the love and freedom in the room. Here, what they most feared happened: they were caught by the thought police, of which Mr. Charrington. People in black uniforms, forged boots, with sticks at the ready burst into the lovers' room. They were knocked down. Winston, they beat him in the stomach. Julia, and then sent as criminals to the underground halls. Ministries of Love.

For. Smith's dark days have come. They mocked him, and this went on for several days, until a man entered the cell, whom the hero did not expect in any way - it was the same one. O. Brien, a member of the Inner Party, whom they confided in with. Julia. In his presence, the guard beat him. Smith so that he lost consciousness. Then the prisoner was dragged into some room, and then real torture began: they kicked, beat with sticks. Drew chkamy until the unfortunate person lost his orientation in time and space. For 10-12 hours. Smith was interrogated. But now pain was no longer his main tool: “They beat him on the cheeks, twisted his ears, where. bright light so that his eyes watered; however, it was done. Just for that. To down him and leave the ability to argue and reason "The goal of the highest hierarch of the inner party is to paralyze the will of the accused, to erase from his memory everything that he lived in order to turn the prisoner into a blind tool in the hands of power. O. Brian did everything possible to. Smith in his soul felt the omnipotence of his elder brother, therefore no one had the right to a personal opinion on particular thoughts.

After all the torture Winston is practically destroyed as a person. The only thing that remained in his soul was love for Julia. He wants to eradicate it. O. Brien, who threatened. Smith with terrible torture - the bloodsucker is rnim by rats, they want to tear the face of the prisoner. And the hero could not stand it - he renounced love, asked the guards to release rats on a woman who was given back.

After this betrayal. Winston was free. But he almost does not look like a person - his teeth are knocked out, his hair has fallen out, he is completely destroyed: physically, morally and mentally. The end of the novel is tragic. Winston. Smith sat in a cheap cafe and reasoned: "All is well, now all is well, the fight is over! He won a victory over himself. He loved. Elder. Bratao. Brother."

A feature of "1984" was the complex of ideas explored by the author. Besides. Orwell, analyzing specific situations, put himself or a person extremely close to himself at the epicenter of events.

Thus, the hero of the novel - a physically weak, sickly person, but endowed with self-esteem, a desire for freedom, a strong memory that did not want to cross out anything - is forced to exist in a society where there was no freedom, where everyone was under the control of a vigilant eye. Orwell was convinced that a totalitarian regime could only survive when people were forbidden to dream, remember, speak in plain language, and, most importantly, make them poor. First, in the conditions reproduced by the artist, the hungry and intimidated faceless creature was easily controlled. Secondly, he proves that a free person is a conditional concept. If a person is tortured long and hard, she will turn into a pile of bones and meat, which only pray for an end to physical pain. The writer is convinced that the cruelty of the system lay precisely in the fact that once inhuman requirements were applied to the individual, since torture was perceived here as an exam: if you passed, then you are a man, if you did not, you were a traitor. Orwell the humanist sought to rehabilitate a man who could not turn into iron and was not designed for it. Consequently, the writer changed his accents for the first time - he blamed not the victim for weakness, but the executioner for cruelty.

Another interesting concept of the artist, reproduced in the novel, was the concept of power. Some critics, examining the work of the writer as a whole, pointed out that. Orwell discovered an exorbitant lust for power in a person, demonstrated the ability of power to give pleasure only from the awareness of the opportunity to realize one or another potential. The reason for such a vision lay in the originality of the writer of the 20th century as a certain historical period. Based on specific political theories,. Orwell argued that representatives of the middle stratum of society were fighting for power, since the lower strata had to worry about bread every day, and the higher authorities already had. In addition, the prose writer divided people into intellectuals and intellectuals, believing that the latter - spiritually rich personalities - are not capable of ruling. But among the intellectuals of the middle strata, there were always people armed with the science of management, who showed enough flexibility and perseverance to achieve what they wanted. This is why closed systems like the one shown have appeared. Orwell in the novel "1984" The power here was guarded closely and around the clock; they ruled collectively, choosing one as a symbol (everyone's big. Big. Brother), the group interests of the powerful collective were placed above personal ones for the sake of maintaining the status of the elite. The state apparatus is aimed primarily at programming human thinking - subordinates should be a unified mass without a past, without a future, a half-starved, humiliated mass, which perceived every little thing as a gift. Under such conditions, the writer is convinced, total government has a real chance of taking as long as possible for as long as possible.

Except. Oceania, empire. GREAT. BROTHER, in a novel. Orwell, there were two more states -. Eurasia and. Remains, and Oceania has always been at war with one of them, making peace with the other. Propaganda claimed that the country has always fought only with. Eurasia, although this was not true, and tried to prove that "today's enemy has always embodied absolute evil, which means that neither in the past nor in the future can an agreement with him be greedy."

A state of terrible violence killed a person, deformed a person by all possible and incredible methods, etc. Orwell showed this in an exaggerated and grotesque way.

Murder in. Oceania had two forms - it could be physical, if people were trying to get out of control or disturb order at least in some way, or spiritual. And this is the last most terrible thing, because it happened one at a time, every minute. Human souls were crippled by propaganda, lies and lies that were passed off as truth, twin-links of hatred, parades in huge stadiums, marches day and night with flags and torches, Mr. Aslam, posters, portraits of leaders in their hands, demonstrations of loyalty and devotion to the rulers.

The depreciation of man has acquired c. Oceania of terrifying proportions and forms. Only officials had some value: the greatest -. BIG. BROTHER, the larger one is members of the inner party, there is a caste of rulers, then the Yiqi party is punishers, overseers, workers. Ministries of love they are all served by the intellectual elite, which was strictly controlled by the state. At the lowest rung of the hierarchical ladder were the "proles" who did the hard and dirty work, feeding society to society.

The Proles are the most destitute people imaginable. They did not live, but vegetated in poverty and spiritual poverty clogged with propaganda, they did not think about anything, they were drugged and spoiled with cheap songs, movies, mass art, or rather anti-art: "There was a whole system of departments dealing with Strait literature, music, drama and entertainment in general. Here, very few newspapers were produced, they contained nothing but sports, criminal chronicles and astrology. Oceania vegetated, but the intellectuals, i.e. accustomed to people, life was not much better. They lived not only in spiritual squalor, but also in beggarly poverty: "As far as he could remember, there was never enough food, there were never whole socks and linen, the furniture was always shabby and unstable, shabby and hitky ...".

Depicting a certain political system, the author acted as a certain innovator. Innovation. Orwell:

o in the novel "1984" the writer made a start not only from the great traditions, but also from the present, gave rich material for anti-utopian moods;

o chose the grotesque as a means of satirical comprehension: everything in the "angsots" society is illogically absurd. Science and technological progress served only as an instrument of control, management and suppression;

o satire. Orwell embraced all the institutions of a totalitarian state: ideology (party slogans say: "war is peace, freedom is slavery, ignorance is strength"), the economy (the people, except for members of the inner party, are starving, coupons for tobacco and chocolate have been introduced), science (the history of society is constantly being rewritten and changing), justice (the inhabitants of Oceania are constantly spied on by the "thought police" "olіtsіya dumok");

o the content of the work is a love story, died: a) at first it is a love story. Winston and. Julia, the story of timid protest turned into a rebellion against the absurd, b) torture of the hero, the destruction of everything human in him, c) the hero is completely destroyed, betrayed his beloved, the brain is empty, the soul is destroyed. The last terrible phrase of the novel: "He loved his older brother" Rata ";

o the novel is designed in strict colors - simplicity of presentation, minor characteristics, laconism of the description of events

Therefore, it is not surprising that the work became famous. He opened the eyes of the world to the reality of the danger that the Bolshevik monster state threatened humanity. And thanks to him. Europe and the world have become more cautious of their time in the famous English writer. J. Wayne wrote: "I'm not sure that the arrival of totalitarianism in Europe was delayed by two novels - "1984" by Orwell and "Night noon" by Koestler, but they played a huge role in this "There is no doubt that. Europe managed to escape from the horrors of totalitarianism was a great merit. George. Orwell's great merit. George. Orwell.

Lesson objectives: to deepen students' understanding of the dystopia genre, to understand the problems of the novel, to introduce the writer's biography.

Methodical methods: checking students' knowledge; clarification of concepts (literary theory); teacher's story lecture with elements of conversation on the text of the novel.

Utopias look much more feasible than previously believed. And now we are faced with a question that torments us in a completely different way: how to avoid their final implementation?
N. A. Berdyaev

During the classes.

I. Checking homework (reading and analysis of 2-3 essays based on the novel by A. A. Fadeev "The Rout").

II. Working with an epigraph

Let's write an epigraph and remember what it is Utopia .

Utopia (from Greek U - "no" and topos - "place") in literature - a detailed description of the public, state and private life of an imaginary country that meets one or another ideal of social harmony. The first utopian descriptions are found in Plato and Socrates. The term "utopia" - from the title of the work of T. More. Classic examples of utopias are T. Campanella's "City of the Sun", F. Bacon's "New Atlantis".

Utopia is a dream.

Why does the philosopher N. Berdyaev warn against the realization of a utopia? We will answer the question at the end of the lesson.

III. teacher's word

Roman Zamyatina "We" written in 1921-22 , first published in English in 1924 in New York, for the first time in Russian - in the same place, in 1952 . In our country, the novel saw the light only in 1988 in 4-5 issues of the Znamya magazine . The history of the novel is dramatic, as well as the fate of its author.

Evgeny Ivanovich Zamyatin is one of the brightest figures among writers who accepted the revolution as the real fate of the fatherland, but remained free in their work, in the artistic assessment of events.

Zamyatin was born in the city of Lebedyan, Tambov province, in the family of a priest. Became a shipbuilder. He wrote about the choice of a profession as follows: “In the gymnasium I received fives with a plus for essays and did not always get along easily with mathematics. That must be why (out of stubbornness) I chose the most mathematical thing: the shipbuilding department of the St. Petersburg Polytechnic. The spirit of contradiction brought Zamyatin, who grew up in a patriarchal family, into the Bolshevik Party. Since 1905, he has been involved in illegal work, is arrested and spends several months in solitary confinement.

During the First World War, Zamyatin left for England as an expert in the construction of icebreakers for the Russian fleet, in particular, he participated in the construction of the famous Krasin (exploration of the Arctic). However, already in September 1917 he returned to revolutionary Russia.

In 1922, Zamyatin published stories ("The Cave", "Dragon", etc.), in which the revolutionary events appear as a rampant element that destroys the existing being. In the story “The Cave”, the former way of life, spiritual interests, moral ideas are replaced by a wild life with miserable values: “In the center of this universe is God. Short-legged, rusty-red, squat, greedy, cave god: cast-iron stove.

Zamyatin did not join the ranks of the opposition, but argued with Bolshevism, could not come to terms with the domination of the dictatorship, its victims, the severity of the losses. As a writer, he was always honest: "I have a very uncomfortable habit of saying not what is profitable at the moment, but what seems to me true." Of course, they stopped publishing it. Criticism hounded the writer even for unpublished works. In October 1931, thanks to the mediation of Gorky, Zamyatin went abroad and since 1932 he lived in Paris.

II. Preliminary conversation on the novel
- What is the subject of the image by Zamyatin in the novel "We"?

Distant future, XXI century.
It would seem that a utopian state, where all people are happy with universal "mathematical infallible happiness." People have always dreamed of harmony, it is human nature to look into the future. Until the 20th century, this future usually seemed bright. Since pre-literary times, fantasy has worked mainly in the direction of "technical improvement" of the world (flying carpets, golden apples, walking boots, etc.).

Why is this distant future depicted?(Discussion.)

Teacher comment:

Zamyatin almost does not give free rein to his engineering and technical imagination. He predicts not so much the path of development of technology, the conquest and transformation of nature, but the path of development of man, human society. He is interested problems of relations between the individual and the state, individuality and the collective. The progress of knowledge, science, technology is not yet the progress of mankind. "We" is not a dream, but dream validation , not a utopia, but dystopia .

Dystopia is a depiction of the dangerous, pernicious consequences of various kinds of social experiments related to the construction of a society that corresponds to one or another social ideal. The dystopia genre began to develop actively in the 20th century and acquired the status of a futurological forecast, a “warning novel”.

V. Practical work
Exercise.
Zamyatin actively uses oxymorons (a combination of opposites).

- Find them in the text.

Wild state of freedom
beneficent yoke of reason,
mathematically unmistakable happiness,
our duty is to make them happy,
faces unclouded by madness,
the most difficult and highest love is cruelty,
inspiration is an unknown form of epilepsy,
the soul is a serious disease.

What are oxymorons for?

Oxymorons emphasize the artificiality, unnaturalness of relations between people and relations between the state and people; ideas about human values ​​turned inside out.

VI. Final word of the teacher

The dystopian genre experienced a real flowering in the 20th century. Among the best dystopias are Brave New World (1932) by Huxley, Animal Farm (1945) and 1984 (1949) by Orwell, Fahrenheit 451 by Bradbury (1953). "We" is the first dystopian novel, a warning about the dangers on the way to the realization of a utopian idea.

The historical path of mankind is not linear, it is often a chaotic movement in which it is difficult to catch the true direction. Let us recall Leo Tolstoy's ideas about the driving forces of history in the novel "War and Peace".

After 1917 an attempt was made to "straighten out" this tangled thread of history. And Zamyatin traced the logical path of this straight line, which leads to the United State. And instead of an ideal, just, humane and happy society, which generations of romantic socialists dreamed of, he discovers a soulless barracks system in which impersonal "numbers" are "integrated" into an obedient and passive "we", a well-coordinated inanimate mechanism.

VII. Homework

Answer the questions:

How is the “happy” society of the future arranged?
- What does Zamyatin warn about with his story?
How relevant is this warning today?
- Think about the epigraph to the lesson.

- What is the cherished dream of the protagonist of the novel, D-503?

(The cherished dream of D-503 - “integrate the grandiose universal equation”, “unbend the wild curve”, because the line of the One State is a straight line - the wisest of lines”.

Happiness Formula mathematically accurate: “The state (humanity) forbade killing one and did not forbid killing millions by half . Kill one, i.e. reduce the amount human lives for 50 years is criminal, but to reduce the amount by 50 million years is not criminal. Well, isn't it funny?" (Record 3rd).

Teacher comment:

Let's remember Dostoevsky , "Crime and Punishment", a conversation between an officer and a student: one insignificant old woman - and thousands of young lives: “Yes, there is arithmetic!” . Anonymous character in Dostoevsky's Notes from the Underground rebels against mathematics, which humiliates his human dignity and deprives him of his will : “Oh, gentlemen, what kind of free will will there be when it comes to the tablet and to arithmetic, when there will be only one twice two four in a move? Twice two and without my will four will be. Is there such a will!

- What is the place of a person, a person in such a state? How does the person behave?

A person in the United State is just a cog in a well-oiled mechanism. The ideal of life behavior is "reasonable mechanistic" , everything beyond it is a "wild fantasy", and "fits of" inspiration "are an unknown form of epilepsy". The most painful of fantasies is freedom A. The concept of freedom is distorted, turned inside out: “Where did the state logic come from when people lived in a state of freedom, that is, animals, monkeys, herds” (Entry 3).

- What is the “root of evil” that prevents universal happiness?

"The root of evil" - in the ability of a person to fantasy, that is, free thought. This root must be pulled out - and the problems are solved. Is being done The Great Fantasy Center Cauterization Operation (Entry 40): "No nonsense, no ridiculous metaphors, no feelings: just facts." The soul is a "disease" .

- Is a person in the United State really happy?

(Discussion.)

- What is opposed to spirituality, humanity in the novel?

Spirituality, humanity is paradoxically opposed to science. The system of scientific ethics is based "on subtraction, addition, division, multiplication"; "Unified State Science cannot be wrong" (Entry 3rd).

The hero of Zamyatin, D-503, a mathematician who idolizes "square harmony", goes from absolute confidence in the correctness of the "wisest of lines" through doubts to faith in the triumph of "reason": "Reason must win." True, this final phrase of the novel was written after the Great Operation on his brain, cauterization of the "wretched brain knot" responsible for fantasy (which made him human).

- How relevant is the problem of the responsibility of science in our time?

The problem of the responsibility of science and people of science to society, to an individual, became acute already in the middle of the 20th century. Let's at least remember ecological problems, the problem of using atomic energy(and Academician Sakharov), the problem of cloning.

The state intervenes in the structure of the personality, in the course of its creative activity, subjugates the emotional sphere. “I” ceases to exist as such - it becomes only an organic cell of “we”, a component, of the crowd.

- What is opposed to the depersonalization of a person in the novel?

Love. The unrecognized D-503, his unconscious love for I-330, gradually awakens the personality of the hero, his "I". O-90's love for him gives hope for the future - the child of O-90 and D-503 finds himself behind the Green Wall and will grow up free.

- What, in your opinion, is the meaning of the title of Zamyatin's novel?

The title of the novel reflects the main problem that worries Zamyatin, what will happen to man and mankind if he is forcibly driven into a "happy future". "We" can be understood as "I" and "others". And it is possible as a faceless, solid, homogeneous something: a mass, a crowd, a herd. The question "what are we?" goes from entry to entry: “we are so the same” (Entry 1st), “we are the happiest arithmetic mean” (Entry 8th), “we will win” (Entry 40th).
The individual consciousness of the hero dissolves into the "collective mind" of the masses.)

III. The novel "We" in the literary context of the time

Teacher comment:

During the years of writing the novel by Zamyatin, the question of the individual and the team was very acute. . At the proletarian poet V. Kirillov has a poem with the same name - "We" :

We are countless, formidable legions of Labor.
We are the winners of the space of the seas, oceans and land...
We are everything, we are everything, we are the victorious flame and light,
Themselves Deity, and the Judge, and the Law.

Let's remember blocky : "We are clearing the battlefield of steel machines, where the integral breathes, with the Mongolian wild horde!" ( "Scythians" ).

In 1920 Mayakovsky wrote the poem "150,000,000" . His name is conspicuously missing from the cover - he is one of those millions : "The party is a million-fingered hand clenched into one smashing fist"; "Unit! Who needs it?! .. One is nonsense, one is zero ...”, “I am happy that I am a particle of this power, that even tears from my eyes are common.”

III. Final word of the teacher

One of the main ones at Zamyatin the idea of ​​what happens to a person, state, society, civilization, when they, worshiping an abstract rational idea, voluntarily renounce freedom and put an equal sign between lack of freedom and collective happiness. People turn into an appendage of the machine, into cogs.
Zamyatin showed the tragedy of overcoming the human in a person, the loss of a name as the loss of one's own "I". This is what the author warns against. From this, how to avoid the "final realization" of utopias, warns Berdyaev.
All dystopian novels of the 20th century, and above all the novel We, warn against this.

Homework

1. Additional questions on the novel by E. Zamyatin "We":
- What literary traditions does Zamyatin continue and develop?
- What is "guessed" by Zamyatin in the novel? Find symbolic images.
- Why did Zamyatin choose the form of a hero's diary for his novel?
- Why did the dystopia genre become popular in the 20th century?

Images and symbols of Shchedrin's works Zamyatin often used in correspondence with relatives and friends. There are frequent references to Shchedrin's images in Zamyatin's journalistic and literary-critical works created in the first years of Soviet power.

In the article “On Service Art” (1918), he speaks with anger and sarcasm about ruling figures destroying ancient monuments: “The demolition of monuments is not done in the name of decorating our life - is it really? - but in the name of decorating our fading pompadours with new laurels. Is it possible to believe that those who take care of decorating life are those who, from the Kremlin, the citadel of beauty, made the Red Guard citadel? What does beauty matter to principled hippos, and what does beauty care about them?

II. Conversation

- Let's open the chapter "Confirmation of repentance. Conclusion" from "The History of a City" by Saltykov-Shchedrin. What is this chapter about?

(In the chapter "Confirmation of repentance. Conclusion" Shchedrin describes one of the most terrible mayors of the city, Glupov Ugryum-Burcheev, who set out to remake the city into a fantastic barracks.)

- What common features could you note in the two rulers?

(Already in some features of appearance and behavior you can see Zamyatin has a lot in common between the images of the mayor Shchedrin and the leader of the United State - the Benefactor .)

Exercise.
Find descriptions of these characters in books. We read excerpts aloud.

Gloomy-Grumbling is endowed with "some kind of wooden face, never illuminated by a smile," a gaze as bright as steel, inaccessible "neither to shades, nor to fluctuations." He has a "naked determination" and operates with "the regularity of the most distinct mechanism" . According to Shchedrin, he finally "abolished" any "nature" in himself, and this, in turn, led to "petrification."

In his cruelly mechanical behavior, even the Foolovites, accustomed to all sorts of rulers, saw satanic manifestations. “In silence, they pointed out,” writes Shchedrin, “to their houses stretched out into a string, to the front gardens laid out in front of these houses, to uniform Cossacks, in which all the inhabitants were uniformly uniformed to one, and their quivering lips whispered: Satan!”.

IN the guise of the Zamyatin Benefactor the same features prevail as in Ugryum-Burcheev: inflexibility, cruelty, determination, automatism .
Zamyatin repeatedly highlights in the portrait of the ideologist of the United State “heavy stone hands”, “slow, cast-iron gesture”, lack of any hint of humanity . Suffice it to recall the scene of the execution of the disobedient poet during the so-called Feast of Justice: “Upstairs, in Cuba, near the Machine, there is a motionless, as if made of metal, figure of the one whom we call the Benefactor. From here, from below, one cannot make out the faces: one can only see that it is limited by strict, majestic, square outlines. But on the other hand, hands ... This is sometimes the case in photographs: too close, in the foreground, the placed hands come out huge, riveting the eye - they obscure everything. These heavy hands, still calmly lying on their knees, are clear: they are made of stone, and the knees can barely support their weight ... ".

- How could you characterize the reign of Ugryum-Burcheev and the Benefactor?

(Both rulers rule with inflexibility and cruelty n. Gloomy-Grumbling is trying to reduce all the diversity of life to an elementary “straight line”: “Having drawn a straight line, he planned to squeeze into it all the visible and invisible world and, moreover, with such an indispensable calculation that it was impossible to turn either back or forward, either to the right or to the left, did he intend to become a benefactor of mankind? It is difficult to answer this question in the affirmative.

Gloom-Burcheev's passion for a straight line was associated with his desire to simplify relations between people, to deprive a person of freedom, joy, and multidimensionality of experiences. This passion is due to his nature, nature. He is trying to level the vast and heterogeneous living world due to his idiocy, he is a “leveller” by nature.)

How do these images compare?

(Zamiatin, having created the image of the Benefactor, abandoned the grotesqueness and primitiveness of Grim-Grumbling. But the writer, at the same time, seemed to transferred to the future the love of the Shchedrin mayor for a straight line, linking it with the idea of ​​​​universal happiness .

Zamyatin realized in the novel Shchedrin's idea about the appearance in new eras of gloomy grumblings, endowed with a thirst to make humanity happy, that is, genetically Benefactor Zamyatin goes back to the mayor of Shchedrin.

“At that time, nothing was reliably known either about the “communists”, or about the socialists, or about the so-called levelers in general, - Shchedrin's narrator notes with irony. - Nevertheless, leveling existed, and, moreover, on the most extensive scale. There were levelers "walking in a string", levelers "ram's horn", levelers "hedgehogs" and so on. and so on. But no one saw in this anything threatening society or undermining its foundations ... The levelers themselves did not suspect that they were levelers, but called themselves kind and caring organizers, to the extent of their discretion, taking care of the happiness of their subordinates. It was only in later times (almost before our eyes) that the idea of ​​combining the idea of ​​straightforwardness with the idea of ​​general happiness was elevated into a rather complex and inextricable administrative theory of ideological tricks...”)

- What is the "truth" for the Benefactor from the novel "We"?

(Zamiatin's benefactor is the supreme being of the United State, standing guard over its norms and regulations. His leveling is sophisticated and has a philosophical and ideological justification.

For the Benefactor, there was only a miserable human herd that needed neither freedom nor truth, but only happiness based on satisfying satisfaction and well-being.. He proclaims the cruel "truth" that the path to happiness lies through overcoming pity for man and violence against us. The benefactor takes on the role of executioner and is confident in his ability to lead people to an earthly paradise.

Accusing the builder of the "Integral" of a crime against the state, the Benefactor with the arrogance of the leader declares: "I ask: what are people about - from the very cradle - prayed, dreamed, suffered? About someone telling them once and for all what happiness is - and then chaining them to this happiness. What else are we doing now but this?”)

- What is the main similarity between Ugryum-Burcheev and the Benefactor?

(The main thing that unites Ugryum-Burcheev and the Benefactor is their desire for a universal regulation of life. )

- Find correspondences in the state structure of the city of Glupov and the United State.

(Plan Ugryum-Burcheev reconstruction of the city of Glupov contains many structural elements Zamyatin's United State. In accordance with the plan, a certain “theater of the absurd” arises in the inflamed imagination of the mayor, the actors of which are not people with their individual traits, but pitiful marching shadows: , everyone was walking ... They were all equipped with the same physiognomies, they were all equally silent and they all disappeared somewhere in the same way ... ".

Shchedrin assigned a commander and a spy to each platoon of citizens. The city should turn into a barracks in which people “have no passions, no hobbies, no attachments. Everyone lives every minute together, and everyone feels alone.

That, that Shchedrin was the "systematic nonsense" of Ugryum-Burcheev and, with his disappearance, was remembered by the Foolovites as a nightmare, with Zamyatin it became the reality of the United State.

All spheres of existence in it are strictly regulated by the Tablet of Hours. This is the main set of norms and restrictions that describes the life of each resident or "number" to the nearest minute. Everyone's personal time is almost entirely absorbed by the normalized time of the state and amounts to only 2 hours a day. Keepers and voluntary informers closely monitor the observance of the norms of time. Normalized time also defines a limited, isolated space. "Numbers" live in glass, transparent cages, collectively visit halls for mandatory Taylor exercises, listen to once and for all fixed lectures in the classrooms.)

- How are the relations between society and nature in the city of Foolov and in the United State?

(It unites the city of Ugryum-Burcheev with the United State and the desire of its rulers to destroy everything natural.

But if Ugryum-Burcheev still fails to conquer nature, stop or change the course of the river, then in the state of the Benefactor, they completely got rid of everything natural. A “machine-equal” person not only does not need to communicate with nature, but also considers his artificial world to be the most reasonable and the only form of life existence.. Hence the Green Wall, and oil food, and other charms of the glass-sterile world. Zamyatin, like Shchedrin, was well aware of what could happen to mankind if in practice it begins to implement insane utopias of transforming nature.)

III. teacher's word

IN letter to the artist Yuri Annenkov , which he called very aptly and accurately - "the shortest comic summary of the novel" We " , Zamyatin noted with inimitable humor: “My dear Yuri Annenkov! You are right. Technology is omnipotent, omniscient, omnipotent. There will be a time when in everything - only organization, when man and nature - will turn into a formula, into a keyboard.
And now - I see, this is a blissful time. Everything is simplified. In architecture, only one shape is allowed - a cube. Flowers? They are inexpedient, this beauty is useless: they do not exist. Trees too. Music is, of course, only sounding Pythagorean pants. Of the works of the ancient era, only the Schedule of Railways was included in the anthology.
People are oiled, polished and precise, like a six-wheeled timetable hero. Deviation from norms is called insanity. And that's why Shakespeare's, Dostoevsky's and Scriabin's, who deviate from the norms, are tied up in crazy shirts and put in cork insulators. Children are manufactured in factories - by the hundreds, in original packages, like patented products; earlier, they say, it was done in some artisanal way ... My dear friend! In this expedient, organized and most precise universe, you would be motion sick in half an hour ».

IV. Lesson summary

- What is the genre of the novel "We" and the reviewed passage from "The History of a City"? What did the authors want to say in their works?

The considered chapter from Shchedrin's "History" and the novel "We" in terms of their genre features, they are anti-utopias, that is, they satirically show models of an undesirable, negative society that suppresses the freedom of the individual, the natural feelings of a person.

Zamyatin, following Saltykov-Shchedrin, warned us about how any system that mass-produces human robots, making violence in all its forms the main instrument of its policy, is terrible. These works make it possible to fully understand the writers' anxiety for the future of Russia.

Municipal educational institution

average comprehensive school No. 1 p.g.t. Aktobe

Aznakaevsky municipal district

Public lesson:

"The development of the dystopian genre in the novel

E.I. Zamyatina "We".

Compiled by: N.G. Yagudin

teacher of Russian language and literature

Conducted: 30.01.2009 within the framework of

Single methodical day

"The use of innovative

technologies in educational

process."

Open lesson on the topic:

“The development of the dystopia genre in the novel “We” by E.I. Zamyatin.

The lesson is intended for the 11th grade of the social and humanitarian profile.
Goals:

Deepen students' understanding of the dystopian genre;

To acquaint students with the biographical data of the writer E.I. Zamyatin, the history of the publication of the novel "We";

Develop the ability of philological (literary) analysis of a literary text;

Help students to understand the problems of the novel;

Cultivate a sense of responsibility for the future, the ability to make your own choice.
Tasks:

To trace certain patterns in the system of relations between the heroes of the work;

Help students understand contradictory nature heroes.
This is the first lesson in studying the work of E.I. Zamyatin and the history of the publication of the novel “We”. In subsequent lessons, topics will be considered: “The fate of the individual in a totalitarian state”, “Exposing the ideas of a mechanized society in the novel “We” by E.I. Zamyatin. This lesson is a lesson in student-centered developmental learning. The lesson allows you to replenish the experience of creative activity and develops the emotional and valuable world of the individual through empathy, sympathy for the characters. Teaches schoolchildren attentive, creative reading through the organization of the reading process as an imaginary dialogue between the reader and the writer. The system of lessons on the novel "We" is built in such a way that the first and last lessons are closed, forming a "semantic ring".

For the lesson, the class was divided into two groups. Working in groups requires the ability not to rise above, to listen to each other, to build statements so that the audience can understand.
For the lesson, the texts of the novel "We" were prepared to work on the content, philosophical dictionaries to clarify the main most commonly used concepts and terms.
Board layout. Number, topic, epigraphs, lesson vocabulary, homework. On reverse side boards - explanation of terms.
Lesson vocabulary:

Utopia; - totalitarian state;

Dystopia; - oxymoron (oxymoron).
Preparatory work:

Prepare individual messages:

1. Development of utopia.

2. Development of dystopia.

3. Biographical information about the writer E.I. Zamyatin.

4. The history of the publication of the novel "We".

Activities:

1. The word of the teacher.

2. Individual messages of students.

3. Conversation on questions.

4. Analytical conversation.

5. Analysis of the novel "We".

6. Notes in notebooks.
During the classes.

1. Organization of the lesson. Creating an emotional state.

Teacher's word.

How many years a person lives in the world, so much he studies, learns new things, discovers something unknown. Today at the lesson, each of you will discover a new page in the book of Yevgeny Zamyatin's work. And maybe even discover something new in himself, in his soul.

So, I invite you to a discovery lesson.
2. Communication of the topic, goals and objectives of the lesson.

The theme of the lesson is “The development of the dystopia genre in the novel by E.I. Zamyatin “We”.

Objectives: to deepen ideas about the dystopian genre; to introduce the biographical data of the writer E.I. Zamyatin, the history of the publication of the novel “We”; develop the ability of philological text analysis; be able to understand the problems of the novel; to cultivate a sense of responsibility for the future, to be able to make their own choice.

Tasks: trace certain patterns in the system of relations between the heroes of the work; help to understand the contradictory nature of the characters.
3. Work with an epigraph.

You have already encountered the term "utopia" in history class. Remember the meaning of this word.

(Utopia is a fictional picture of an ideal life arrangement).

So, utopia is a dream. Why does the philosopher Berdyaev warn against the realization of a utopia? You can answer this question at the end of the lesson. Today in the lesson you will discover a new epic genre - a dystopian genre - a dystopian novel.

Students write the term in their workbooks, the concept itself will appear only by the end of the lesson.

4. Individual messages of students.

1. The emergence of the dystopia genre.

The dream of building, creating a happy society based on social equality, justice, fraternity for many centuries haunted people, and in the period from the 16th to the 19th century, many utopias were created in world literature.

^ THE MOST BRIGHT EXAMPLES.

T.Mor "The Golden Book about the best structure of the state or about the new island of Utopia" (1478-1535), where the author, criticizing exploitation, depicted a world where everyone works

and everyone is happy.

Italian humanist T. Campanella "City of the Sun" (1568-1639).

English socialist writer W. Morris "News from Nowhere".

N.G. Chernyshevsky "What to do?" (dreams of Vera Pavlovna).

M.E. Saltykov-Shchedrin "History of one city" (Gloom-Burcheev).

Dreams remained only dreams: for more than four hundred years, no society in existence has managed to achieve either equality, or justice, or happy life for all. About the writer.
In the 20th century, after the novel "We" was written, life itself refutes utopian dreams, thus proving that Zamyatin's terrible predictions turned out to be quite feasible.

The emergence of totalitarian regimes raised doubts about the possibility of the existence of an ideal state and society. Hence the emergence of a new genre, the genre of dystopia.
2. Brief biographical information.

Zamyatin Evgeny Ivanovich (1884-1937) - prose writer. Born in the city of Lebedyan, Tambov province, in the family of a clergyman. Graduated from the shipbuilding faculty of the St. Petersburg Polytechnic Institute. He took part in the revolutionary movement of 1905-1907, was subjected to repression. In 1906-1911 he lived illegally. The literary debut in 1908 was unsuccessful. Luck came later, in 1913, when the story "Uyezdnoe" was published.

The pre-revolutionary work of Zamyatin developed in the traditions of Russian critical realism by N.V. Gogol, N.S. Leskov and was colored by democratic ideas. Zamyatin was truly a Russian man. This was his strength as an artist and his tragedy.

His attitude to old Russia can be defined by the words: "love-hate." Love for its origins, a healthy folk basis, the creative obsession of Russian nature, its readiness for revolutionary renewal. And hatred for the autocratic political shackles, provincial stupidity, a reservoir of savagery and lack of culture, which, as the writer seemed, could not be exhausted in the foreseeable future. But the writer also saw another Russia. In the stories “Three Days” and “Unlucky” (where the “eternal student” Senya is depicted dying on the barricades), the author showed a protesting, revolutionary Russia. In 1914, the writer was put on trial for the anti-war story "On the Middle of the Road", and the issue of the magazine in which the story appeared was confiscated.

In 1916 the writer leaves for England. Bourgeois civilization, which turns man into a machine, provided material for the satirical story "The Islanders" (1918) and the story "The Catcher of Men" (1918).

In the autumn of 1918, Zamyatin returned to Russia. In Petrograd, he met the October Revolution, survived the events civil war, severe devastation and famine. At this time, he becomes close to Gorky and participates in almost all of his undertakings to save culture, but Zamyatin's own artistic work of these years was more significant. This includes, first of all, the fantastic novel “We”, which remained in the manuscript (until it was published abroad in 1925 in translations), as well as numerous stories, fairy tales, dramatic “acts”, in which the writer somehow touched on the “sick” sides revolutionary reality: “The Story of the Most Important Thing” (1923), “Dragon” (1918), “Arapy” (1920), “Handy of Sinners”,

"Cave" (1920), "Mamai" (1920), "X!" (1926), "The word is given to Comrade Churygin" (1926), "Fires of St. Dominic" (1920) and others. At that harsh time, many proletarian writers and literary critics perceived this as an apostasy, as a betrayal.
3. The history of the publication of the novel "We".

"We" is a brief artistic summary of a possible distant future prepared for humanity, a bold dystopia, a warning novel. But at the same time (and this is obvious today) it is an extremely modern thing. Written in 1920 in a hungry, unheated Petrograd, in an atmosphere of war communism, with its forced cruelty, violence, in an atmosphere of widespread belief about the possibility of a quick jump straight into communism, the novel immerses the reader in that future society where all the material needs of people are resolved and where managed to develop a universal, mathematically verified happiness by abolishing freedom, the very human individuality, the right to independence of will and thought.

This is a society of walls and an integrated life for everyone, pink coupons for love (for recording on any number with the right to lower the curtains in the room), the same oil food, the strictest, strict discipline, mechanical music and poetry, which has one purpose - to sing the wisdom of the supreme ruler , Benefactor.

Happiness has been achieved - the most perfect of anthills has been erected. And now a cosmic supermachine is being built - the Integral, which is supposed to spread this unconditional, forced happiness to the entire Universe.

In the novel “We”, the writer sought to tell about “the so-called “convergence” (which many secretly or explicitly counted on), that is, about the mixing of social systems into one technocratic cauldron.” Here the struggle of two principles is revealed: for a person or (supposedly for his own good) against him; humanism or fanaticism, proceeding from the fact that people, people need a cruel shepherd. It doesn't matter who he is - a deified tyrant or a ferocious creator of all things; it is important that a person could (for his benefit) be driven into a slave, into an ant, an impersonal number. By the end of the 1920s, for a number of reasons, a hostile "alienation zone" was developing around Zamyatin. In 1924, in the translation of the American psychiatrist (a native of Russia) G. Zilburg, the novel gained fame abroad and was warmly received by American critics.

In the autumn of 1929, in the Prague magazine "Will of Russia" without the knowledge of the author (in a reverse translation from English) was published, with abbreviations "We". Czech translations soon appeared. This was the beginning of a broad campaign against Zamyatin. Doomed to creative silence, the writer addressed a letter to V.I. Stalin with a request to allow him to travel abroad. In 1931, his request was granted.

Only in 1952 the novel was published in Russian, but again not in Russia, but in the USA. Only in 1988, more than half a century after it was written, "We" was released in Russia. Today we have the opportunity to read it, to reflect on its pages.
5. Analysis of the novel.

You yourself read the novel "We". What is the subject of the image in this work?

Far future, 31st century. It would seem that a dream state has finally been created, where everything

People are happy with universal "mathematical infallible" happiness. This is not accidental, because people always dream of harmony, and it is human nature to look into the future. The future always seemed to him wonderful, even from pre-literary times. Suffice it to recall Russian folk tales: flying carpets and walking boots for speed, rejuvenating apples and living water for youth and eternal life, self-assembled tablecloth for prosperity and satisfying life...

Why is such a distant future - the 31st century - depicted?

Note that in the novel, the dream is not based on the development of technology, the conquest, the transformation of nature, but on the development of man and society.

The problem of the relationship between the individual and the state, individuality and the team, because the progress of science and technology is not yet the progress of mankind.

Today in the lesson it was said that the dystopian genre began to develop actively in the 20th century and acquired the status of a “warning novel” about a possible future. The historical path of human society, as you know, is not straightforward, it is often a chaotic movement in which it is very difficult to find the right direction.

After 1917, an attempt was made to "straighten out" this tangled thread of history. E.I. Zamyatin traced the logical path of the result of such an action, which led to the United State. State, where instead of ideal, fair. A humane, happy society, which generations of romantic socialists dreamed of, reveals a soulless barracks system. There are not people in it, but faceless “numbers”, integrated into an obedient and passive “we”, in which there is not a human society, but a complex inanimate mechanism, that is, the complete opposite of what is desired.

The text of the novel is also built on the basis of opposition. Zamyatin actively uses in his work a combination of opposites, oxymorons.
Notebook entry.

Oxymoron (oxymoron; from the Greek ohumoron - literally: witty-stupid) - a stylistic figure, a combination of words that are opposite or contrasting in meaning.
Teacher.

Give examples of oxymorons from the novel.

Wild state of freedom; the beneficent yoke of reason; our duty is to make them happy; the most difficult and highest love is cruelty; mathematically infallible happiness; faces unclouded by madness; inspiration is an unknown form of epilepsy; the soul is a serious disease.
Teacher.

Conclusion: it is oxymorons that emphasize the unnaturalness, artificiality, unnaturalness of relations between the state and people. With the help of this stylistic device, ideas about human values ​​turned inside out are shown.

Can the state shown in the novel be called ideal?
Teacher.

So, "We" is not a dream, but a test of the viability of a dream, not a utopia, but a dystopia.
Teacher.

Write down how you came to understand what a dystopia is. Now compare your idea of ​​dystopia with what is written on the board.
On the reverse side of the board there is an inscription: “dystopia is a depiction of the dangerous, detrimental consequences of various kinds of experiments related to the construction of a society that corresponds to one or another social ideal.”
6. The final word of the teacher.

Dystopia is a demonstration of an ideal state, which has reached the point of absurdity in its development. The new genre was a reaction to the politics of a totalitarian state. The writer dreamed of publishing "We" in Russia, but the censorship said: "No!". The novel gained fame abroad - in 1924 it was warmly received by American critics. Only in 1952 was the Russian text published, but not in the writer's homeland, but in the USA. Only in 1988, almost 70 years after it was written, the novel was published in Russia. And we have the opportunity to read it, to reflect on its pages.

"We" is the first dystopian novel, a warning about the dangers on the way to the realization of a utopian idea.
Teacher.

What can you now say about the epigraph to the lesson?

The historical path of mankind is not linear, it is often a chaotic movement in which it is difficult to catch the true direction.

The famous German poet Friedrich Rückert said: “How insignificant is man, for all his greatness, in comparison with the universe! How great you are, for all your insignificance, you are a particle of the universe. And some of the heroes of the work realized themselves with this particle, therefore it is hope, and not pessimism, that they inspire us with their actions. Zamyatin was convinced that this mechanized collective would never take root in society, knowing neither love, nor happiness, nor joy in life.
Teacher.

Now answer the question in writing: what would you take into the future from our society?
Homework.

1. 
   Prepare a report "The fate of the individual in a totalitarian state."
2. 
   Retell episodes:

a) the scene of punishment of the criminal from Recording 9;

b) the result of operation D - 503.

educational institution

"Mogilevsky State University them. A.A. Kuleshov"

Faculty of Slavic Philology

Test

on Russian literature of the XX century

The main motives of Zamyatin's dystopia "We"

Mogilev 2007

Plan

1. Time, Zamyatin, the creation and fate of the novel "We"

2. The main motives of dystopia

3. Relevance of the novel

Conclusion

Bibliography

Introduction

Analysis of the work of Evgeny Ivanovich Zamyatin "We", as a theme control work, for its author is interesting for several reasons. Firstly, what is described by the author in the 20th year of the last century, today's reader finds in life modern society. Secondly, the novel "We" cannot be considered separately, tearing it away from the history of the Russian state, which at that time included Belarus, and the historical aspect is always interesting in itself. And, thirdly, the uniqueness of the author's personality, who was a shipbuilder by education. Fourth, enough original form presentation of material on behalf of a person who had nothing to do with creativity.

To write a test paper on the topic "The main motives of Zamyatin's dystopia" We ", the student read the work itself. Also, the author of the work got acquainted with the biography of the writer, once again refreshed his memory historical events 1920s, in order to more clearly understand what the master of the word wanted to convey to the reader. Accordingly, the work itself is cited in its work, and critical material is also used.

1. Time, Zamyatin, the creation and fate of the novel "We"

The twentieth century occupied a great place in the history of our and Russian people. The highest achievements of science and technology, huge changes in political life and billions of people suffering from hunger, lack of rights, etc. of people. It was also a difficult time for literature. The totalitarian system insisted, first of all, on the ideological conformity of the writer to the current political moment: "He who does not sing with us today is against us." Relying on Lenin's article "Party Organization and Party Literature", socialist realism operated with a whole set of recommendations, strictly regulating what and how to write.

One of the main events of the twentieth century - the revolution - found Zamyatin at shipyards in England. Having learned about the coup, he hurried home and took an active part in the cultural construction that had begun. Worked with Gorky at the World Literature publishing house.

The main work of Zamyatin - the novel "We" - the writer finished in 1920. It is a notebook (manuscript) of a man of the future, where everyone is a number, because in that distant and happy world they tried to completely erase all unnecessary boundaries that burden the human soul, and the name, as you know, is the first thing that distinguishes one individual from another. A stormy discussion of the book both in society and in criticism immediately followed and continued for a long time. As one might have guessed, the censorship of the 1920s was notable for its sharp "diagnostic" flair; rare works whose authors ignored the class approach to literature were published in a timely manner. So, the novel "We" appeared in print abroad only in 1924, only in 1988 the work was published in Russia. This alone indicates that the writer's satire "hit the mark." After the publication of the novel, Zamyatin's position in literature became more and more difficult: he was subjected to unfair outrageous criticism - real persecution - from the Rappovites, his works made their way into print with great difficulty. The writer admitted: "... I have a very uncomfortable habit of saying not what is profitable at the moment, but what seems to me true." Yevgeny Ivanovich did not want to become like the character of the novel "We" - the state poet with his "happy" lot to crown the holidays with poems. In 1931, the writer turned to the Soviet government with a request to emigrate and, having received permission (a unique case!), Settled in Paris. In 1937 he died there from a serious illness.

In world literature, the utopian genre has a long history. He made it possible to look into the future, to imagine with the help of fantasy tomorrow, as a rule, joyful and serene. Creating pictures of the future, utopian writers painted them more often in pink light. They embodied the eternal human dream of life without wars, without grief, poverty and disease, of harmony and joy. In the twentieth century, one of the first Zamyatin managed to write a book of a topical and peculiar antithesis genre - a satirical dystopia that exposes sweet illusions that led a person and society into dangerous delusions about tomorrow, and planted all the time quite consciously. A. Platonov, A. Chayanov followed in his footsteps in Russia, and O. Huxley and J. Orwell in the West. These artists were given to see the great danger that the widely propagandized myths about happiness with the help of the technological process and barracks socialism carried with them.

2. The main motives of dystopia

The novel "We" is both a warning and a prophecy. Its action takes place in a thousand years. The main character is an engineer, builder of the Integral spacecraft. He lives in the One State, headed by the Benefactor. Before us is an extremely rationalized world dominated by iron order, uniformity, uniforms, the cult of the Benefactor. People are spared the torment of choice, all the richness of human thoughts and feelings is replaced by mathematical formulas.

The story is told from the perspective of the protagonist: we read his diary entries. Here is one of the first:

« I, D-503, builder of the "Integral" - I am only one of the mathematicians of the Great State. My pen, accustomed to numbers, is unable to create music of assonances and rhymes. I'm just trying to write down what I see, what I think - more precisely, what we think (that's right - we, let this "We" be the title of my notes). But after all, this will be a derivative of our life, of the mathematically perfect life of the One State, and if so, will it not be in itself, against my will, a poem? It will be - I believe and I know "

According to the plan of the Benefactor, the citizens of the One State should be devoid of emotions, except for delights about his wisdom. From a height of view modern man some moments of the organization of the life of Numers reach insanity, for example: instead of love - “pink tickets” for a partner on sexual days, when the glass walls of dwellings were allowed to be curtained for a short time. Yes, they live in glass houses (this was written before the invention of television), which allows the political police, called "Guardians", to easily oversee them. Everyone wears the same uniform and usually refers to each other as either "number such and such" or "unifa" (uniform). They feed on artificial food and during the hour of rest they march four in a row to the sound of the anthem of the One State, pouring from loudspeakers. The guiding principle of the State is that happiness and freedom are incompatible. Man was happy in the Garden of Eden, but in his folly he demanded freedom and was driven into the wilderness. Now the United State has again granted him happiness, depriving him of his freedom. So, we see the complete suppression of the individual in the name of the prosperity of the State!

Earlier, back in the story "The Islanders" (1917), Zamyatin first appeared the theme of "integrated" being, which received logical completeness in the novel "We". This theme organically contains the motive of "forced salvation" of a person from chaos own feelings. The writer reacted vividly to another manifestation of entropy in society, criticizing the rapidly developing trend in the 20th century towards conformism, the leveling of personal consciousness. The artist in the "English" stories emphasized the fundamental inhumanity of mechanical life, the merciless laws of which are aimed at the destruction of the living, human principle. It is important that Zamyatin, exploring the problem of dogmatization of the social structure, paid attention to one of the most important patterns of this process - the loss of a person's internal ethics while observing the external one. Formalism inevitably disfigures the personal consciousness, giving rise to an atmosphere of lies, hypocrisy, meanness. It is the affirmation of the human that constitutes the main idea of ​​these stories, which served as the forerunner of the novel We. Much, much of what Zamyatin described was perceived by his contemporaries as fruits of pure fantasy, sometimes as an ugly caricature. But the very genre of the novel - dystopia - suggests the presence of satirical and fantastic elements. Satire is an organic feature of the writer's creative manner; it is the pathos of many of Zamyatin's works. The artist also considered the existence of fantasy to be a necessary condition for the existence of real literature, a condition under which literature would be able to reflect the "enormous, fantastic scope of the spirit" of the post-October era, which "destroyed everyday life in order to raise questions of being." It is characteristic that the humanistic pathos of the novel was not caught by the criticism of the 1920s. Many have qualified it as a "sally of the enemy." This is evidenced not only by critical attacks in articles published in those years - they could contain a lot of deliberate, untruthful, written with the aim of currying favor with the Soviet authorities or insuring themselves for the future, so that no one would have a question: why was he silent, not noticed? The reviews of his contemporaries, which are not intended for publication, also speak of a sincere misunderstanding of the novel. In this regard, the reaction of D. Furmanov, not expressed aloud by him, but recorded in his notebooks, which were published in the 50s, is indicative: "... We" - the horror of realizing socialism ... This novel is an evil pamphlet - a utopia about the kingdom of communism, where everything is trimmed, castrated ... Zamyatinstvo is a dangerous phenomenon. "There is a deep pattern in the fact that all of Zamyatin's contemporaries read the novel as a parody of socialism. This suggests that those negative traits, which served the writer as a starting point for the development of the plot, were noticeable not only to the author. It is characteristic that Zamyatin refused such an interpretation of the author's intention, and there was no lie in this (as already noted, telling the truth was the personal and artistic credo of the writer), because English impressions served as the impetus for writing the work. In one of the reports, which is of fundamental importance for understanding his creative principles, Zamyatin said that in the novel "We" he makes an attempt "to construct an equation of the movement of European mechanization and mechanizing civilization." In a completely different way, what is described in the novel is perceived now: “ They say that the ancients made elections somehow mysteriously, hiding like thieves ... Why all this mystery was needed is still not completely clear ... We have nothing to hide or be ashamed of: we celebrate elections openly, honestly, during the day. I see how everyone votes for the Benefactor; everyone sees how I vote for the Benefactor - and how could it be otherwise, since “everyone” and “I” are a single “We”.

INTRODUCTION

SECTION 1. Utopia and Anti-Utopia. BIOGRAPHY OF E. ZAMYATIN

1 Definition of genres

2 The history of the development of the genres of utopia and dystopia

3 Genres of utopia and dystopia in Russian literature

4 The work of Yevgeny Zamyatin during the writing of the novel "We"

SECTION 2. ARTISTIC ANALYSIS OF THE NOVEL "WE"

1 The meaning of the name "We"

2 Theme of the work

3 Problems of the novel

4 Features of the dystopian genre in the novel by E.I. Zamyatina "We"

5 The idea of ​​the dystopia "We"

BIBLIOGRAPHY

INTRODUCTION

The work of Yevgeny Zamyatin "We" was not known to the mass Soviet reader, since at first it was published abroad, and its printing was generally prohibited in the Soviet Union. For the first time in Russian, the novel was published in New York in 1952, and its first publication in the USSR took place in 1988 in the Znamya magazine. Despite the persecution and "persecution" of the authorities, the work is the "ancestor" of the dystopia of the twentieth century.

Relevance of the topic: Evgeny Zamyatin, when he wrote the novel "We", tried to look into the future and show us what technical progress can lead to. And, although the text also traces the theme of the possible consequences of socialist power, we are still closer to the first of them, moreover, in the work both topics are considered as one.

At present, we are already very close to the future depicted by Zamyatin, and we can see that the author was right: technology is improving, it replaces human relations for us: computers, televisions, game consoles replace friends and relatives for us, every year it is more and more absorbs the person more. People become less receptive to what surrounds them, feelings are distorted, emotionality decreases, dependence on technological progress really makes them look like robots. Perhaps, with a similar development of further events, in our world the soul will also become a relic that can be removed with the help of a special operation. And someone can use it for their own purposes, thus becoming a "Benefactor", subjugating the entire human society, which will also be a single mechanism. And if people do not stop, then Yevgeny Zamyatin's dystopia may become a reality.

Purpose of the study: to trace the features of the dystopia genre in the text of the novel "We" by Evgeny Zamyatin.

Research objectives:

define the genres of utopia and dystopia, compare them;

prove that E.I. Zamyatin's "We" is a dystopia;

determine the theme and idea of ​​the work;

draw conclusions.

Object of study: dystopia by Evgeny Zamyatin "We".

Subject of study: artistic features of the anti-utopia "We".

Research methods:in the search and collection of factual material, the hypothetical-deductive method was used; when comparing the genres of utopia and dystopia - the method of opposition; and also applied the method artistic analysis(when considering the theme and idea of ​​the work, when searching for features characteristic of dystopia in the novel).

SECTION 1. Utopia and Anti-Utopia. BIOGRAPHY OF E. ZAMYATIN

.1 Definition of genres

"Utopia(Greek ????? - “place”, ?-????? - “not a place”, “a place that does not exist”) - a genre of fiction<#"justify">Fiction is an important element of utopia. “The authors of utopian novels have always boldly used the techniques of fantastic description. But nevertheless, utopia, as a traditional and fairly definite form of art, differs from purely fantastic literature or modern science fiction, which by no means always deals with the construction of a possible image of the future. Utopia also differs from folk legends “about a better future”, since it is ultimately the product of individual consciousness. Utopia also differs from satire (although it very often includes a satirical element), since, as a rule, it criticizes not any separate specific phenomenon, but the very principle of social organization. Finally, it also differs from futurological projects, as it is a work of art that is not directly reducible to a certain social equivalent and always carries the author's likes and dislikes, tastes and ideals.

In the world of utopia, they live according to their own laws and principles. But these laws and principles have a tangible impact on our lives. “Capturing the imagination of major statesmen and ordinary citizens, penetrating into the program documents of political parties and organizations, into the mass and theoretical consciousness, overflowing into the slogans of popular movements, utopian ideas become an integral part of the cultural and political life of society. And therefore, the object of study.

"Dystopia, dystopia, negative utopia, the image (usually in thin prose) of dangerous, harmful and unforeseen consequences associated with building a society that corresponds to one or another social ideal. A. arises and develops as the utopian is consolidated. traditions common. thoughts, often playing the role of a necessary dynamic in their own way. a corrective to a utopia, always somewhat static and withdrawn.

Sometimes next to the term "dystopia" is found - "dystopia". For a better understanding of the meaning of the meaning of the first, it is worth comparing them:

"In the mid-1960s<#"justify">“Dystopia is an anti-genre.<…>The specificity of anti-genres lies in the fact that they establish parodic relations between anti-genre works and works and traditions of another genre - the genre being ridiculed.<…>

However, anti-genres do not necessarily follow patterns, that is, recognized sources, since the larger tradition of literary parody may generate patterns.<…>

The presence of several types of antigenres suggests that subgenres may have their own classic texts and patterns. Thus, the followers of Zamyatin turned his "We" into a model of modern "dystopia" - a type of dystopia that exposes utopia, describing the results of its implementation, unlike other dystopias that expose the very possibility of realizing utopia or the stupidity and fallacy of the logic and ideas of its preachers.

Differences between dystopia and utopia

Dystopia is the logical development of utopia<#"justify">“As a form of social fantasy, utopia relies mainly not on scientific and theoretical methods of cognizing reality, but on imagination. Related to this whole line features of utopia, including such as a deliberate separation from reality, the desire to reconstruct reality according to the principle "everything should be the other way around", a free transition from the real to the ideal. In utopia, there is always an exaggeration of the spiritual principle, in it a special place is given to science, art, education, legislation and other factors of culture. With the advent of scientific communism, the cognitive and critical significance of the classic positive utopia begins to gradually decline.

Of greater importance is the function of a critical attitude to society, primarily to the bourgeois one, which is taken over by the so-called negative utopia, a new type of literary utopia that took shape in the second half of the 19th century. A negative utopia, or dystopia, differs sharply from a classical, positive utopia. Traditional classical utopias meant a figurative representation of an ideal, desired future. In a satirical utopia, a negative utopia, a warning novel, it is no longer an ideal future that is described, but rather an undesirable future. The image of the future is parodied, criticized. This does not mean, of course, that with the appearance of negative utopias, utopian thought itself disappears or devalues, as, for example, the English historian Chad Walsh believes.<…>

In fact, a negative utopia does not "eliminate" utopian thought, but only transforms it. It, in our opinion, inherits from the classical utopia the ability to predict and social criticism. Of course, dystopias are a controversial and heterogeneous phenomenon, in which both conservative and progressive features are found. But in the best works of this type, a new ideological and aesthetic function arose—to warn of the undesirable consequences of the development of bourgeois society and its institutions.”

1.2 The history of the development of the genres of utopia and dystopia

literature zamyatin novel dystopia

In the history of literature, utopian novels and stories have always played a big role, as they served as one of the forms of understanding and evaluating the image of the future. “Growing, as a rule, from criticism of the present, utopia drew the further movement of society, its possible paths, outlined various options for the future. This function of utopian literature has survived to this day, despite the rapid development of futurology and the popularity of science fiction, which also strive to know the future.

“The source of utopia in each individual segment of real historical time could be social ideologies, technological myths, environmental ethics, etc. The formation of utopia is evidence of the processes of awareness of the all-encompassing crisis phenomena of society. Utopia can also be interpreted as a dream of the perfection of the world. The tragedy of the procedures for the implementation of utopias is often interpreted as a consequence of the fact that utopias are the expression of an anti-natural, supra-natural dimension, which can only be forced into the consciousness of the average person by force and without which history would be less tragic.

World utopian literature is very extensive. During its historical existence, it has experienced periods of ups and downs, successes and failures.

“Today it is difficult to imagine the general panorama of history without utopian works. As Oscar Wilde said, a map of the Earth that does not show a utopia is not worth looking at, as this map ignores the country to which humanity is constantly striving. Progress is the realization of utopias.”

The author of the first U. is considered to be Plato, who developed it in the dialogues "The State", "Politician", "Timaeus", "Critias". Already in these texts the basic utopian principle is introduced: a detailed description of regulated social life. “The structure of wu as a genre took shape in Western European literature of the Renaissance. Popularity was given to: "The City of the Sun" (1623) by T. Campanella - a navigator's story about an ideal community living without private property and a family, where the state caste supports the development of science and education, provides for the upbringing of children and monitors the obligatory 4-hour working day; "New Atlantis" (1627) by F. Bacon - about the fictional country of Bensalem, which is led by the "Solomon's House", which unites the assembly of wise men and supports the cult of scientific, technical and entrepreneurial activity; “Another world; or States and Empires of the Moon” (1657) by S. Cyrano de Bergerac - about a journey to a utopian state on the Moon, where Enoch, the prophet Elijah, and the patriarchs continue to live; "History of the Sevarambs" (1675-79) by D. Veras about the visit of the shipwrecked captain Siden to the country of Sevaramb, which knows neither property nor taxes. In the 18th century utopian literature was supplemented by Morelli's Code of Nature (1755), in the 19th century. the novels “In a Hundred Years” (1888) by E. Bellamy and the novel “News from Nowhere” (1891) by W. Morris, which became very popular, were published. In 1898, the first utopian drama appeared - "Dawns" by E. Verharn ".

“Throughout history, utopia, as one of the original forms of social consciousness, has embodied such features as the comprehension of the social ideal, social criticism, the call to escape from the gloomy reality, as well as attempts to anticipate the future of society. Literary utopia is closely intertwined with legends about the "golden age", about the "islands of the blessed", with various religious and ethical concepts and ideals. During the Renaissance, utopia took on the form of descriptions of perfect states or ideal cities that allegedly existed somewhere on Earth - as a rule, in some remote point on the globe, on inaccessible islands, underground or in mountains. Since the 17th century, a special form of literary utopia has become popular - the so-called state novel, which tells about travels in utopian countries and contains, first of all, a description of their state structure. At the same time, various utopian projects and treatises became widespread.<…>

The emergence of dystopias is a pan-European phenomenon. It is observed, in fact, simultaneously in all countries of Western Europe, especially in England, Germany, France.

It is noteworthy that England, the birthplace of positive utopias, also turns out to be the progenitor of negative utopias, warning utopias. Among the first dystopias are the novels The Coming Race by Bulwer-Lytton (1870), Erewuon by S. Butler (1872), Through the Zodiac by Percy Greg (1880), The Machine Stops by E.M. Forster (1911) and others.

In Germany, among the first dystopias, M. Conrad's novel In the Purple Haze (1895) stands out.<…>

Elements of negative utopia are reflected in the versatile work of HG Wells - the novels "War of the Worlds", "War in the Air".<…>

Each country has contributed and continues to contribute to the treasury of utopian thought. The catalog of world utopian literature for the period from the 16th to the 19th century has about a thousand titles. However, even later the utopia does not come to naught. For example, about 300 utopias appeared in England in the first half of the 20th century, dozens of utopias were created in Germany at the beginning of the century, and more than 50 utopias were written in the USA in the period from 1887 to 1900 alone.

1.3 Genres of utopia and dystopia in Russian literature

In the history of Russian literature, there is also a fairly strong tradition of creating utopian works associated with such names as Sumarokov, Radishchev, Odoevsky, Chernyshevsky, Dostoevsky, Saltykov-Shchedrin and others.

“In quantitative terms, the Russian literary utopia is inferior to the Western European one. In Europe, the utopia genre was both older and more popular. Utopia actually arises at the dawn of European literature, its chronology can already be traced back to Plato. In Russia, utopia appears in the 18th century - in the era of the creation of modern Russian literature. But starting from this period, it has been actively developing, meeting the needs of Russian social thought.<…>

Social utopias appeared in the public mind as early as Ancient Rus'. They were in the nature of hopes or legends, such as, for example, the legend of "Agapius' Journey to Paradise" or "Zosima's Journey to the Rahmans." However, the first literary utopias in Russia in the full sense of the word belong to XVIII century. At the same time, a great interest arose in European utopias, which were increasingly translated into Russian.<…>

In the second half of the 19th century, a whole series of works remarkable in their socio-philosophical content and aesthetic level appeared in Russian literature, including utopian motifs and realizing the artistic principles of utopia.<…>

In characterizing the development of Russian utopian literature, one cannot ignore the problem of the so-called negative utopia. As in England or Germany, in Russia in the second half of the 19th century, along with a positive utopia containing a dream of a desired future, its ironic turning inside out, sometimes it is a prediction of gloomy prospects. Most often, dystopias described the possible negative consequences of technological and scientific progress, the mechanization of labor and lifestyle, warned of the dangers of world wars that could turn history back.

“The genre of A. flourished in the 20th century, when utopian ideas began to be realized. Russia became the first country of the realized utopia, and one of the first prophetic novels was “We” (1920) by E. Zamyatin, followed by “Leningrad” (1925) by M. Kozyrev, “Chevengur” (1926-29) and “The Pit” ( 1929-30) A. Platonov.<…>

In the 1980s and 1990s, such genre varieties as the satirical narration (Nikolai Nikolayevich and Disguise, both in 1980 by Y. Aleshkovsky; Rabbits and Boas, 1982, by F. Iskander), detective A. (“Tomorrow in Russia”, 1989, E. Topolya), A. - “catastrophe” (“Laz”, 1991, V. Makanin, “Pyramid”, 1994, L. Leonova) and others.

The development of a literary utopia in Russia has not remained only a fact of history. October Revolution brought together the boundaries of fantasy and reality.

The construction of a socialist society, the sublime, and sometimes naive belief in the possibility of conscious and purposeful intervention in the objective course of history gave a strong impetus to the development of utopian and science fiction literature. Since the 1920s, utopia has been widely developed.

“Soviet utopia absorbed those traditions of Russian utopian literature that emerged already at the end of the 19th and beginning of the 20th centuries. On the one hand, there is an urgent craving for a socialist utopia in Russian literature, on the other hand, it is a dystopia.

Apparently, it is no coincidence that therefore, in the same 1920, two important utopias were published - Yevgeny Zamyatin's anti-utopian novel "We", which, in fact, laid the foundation for the development of this genre in the world literature of the twentieth century, and Alexander Chayanov's novel "My Brother's Journey Alexei to the country of peasant utopia”, which continued the traditions of Russian and European literary utopia.<…>

After the rapid rise and development of utopian literature in the 1920s, there was a sharp decline, and starting from the 1930s, utopias rarely appear on bookstores. The revival of this genre was largely facilitated by the development of science fiction.<...>

In the second half of the 1980s, two anti-utopias appeared almost simultaneously, which, in our opinion, symptomatically reflect the time. These are a short story by Alexander Kabakov "The Defector" and a novel by Vladimir Voinovich "Moscow 2042". Both authors portray the future as a nightmare and a complete disaster.<...>

All this testifies to the fact that the centuries-old tradition of the Russian utopian novel does not disappear without a trace, which still continues to feed contemporary literature ».

1.4 The work of Yevgeny Zamyatin during the writing of the novel "We"

Zamyatin's letter to Stalin

“I know that I have a very uncomfortable habit of saying not what is profitable at the moment, but what seems to me to be true. In particular, I have never hidden my attitude towards literary servility, servility and repainting: I believed - and continue to believe - that this humiliates both the writer and the revolution in the same way.

“The fate of Yevgeny Zamyatin (1884-1937) fully confirmed the unwritten, but, it seems, mandatory law that rules over the creators of dystopias: first they are stoned, then (most often posthumously) they are accepted to be read as seers. In relation to Zamyatin, all this had an almost literal meaning.

Zamyatin, Evgeny Ivanovich (1884-1937), Russian writer. Born on January 20 (February 1), 1884 in the city of Lebedyan, Tambov province. (now the Lipetsk region) in the family of a poor nobleman. In addition to the impressions of the nature of those places with which many Russian writers were somehow connected - Tolstoy, Turgenev, Bunin, Leskov, Sergeev-Tsensky - home education had a great influence on Zamyatin. “He grew up under the piano: his mother is a good musician,” he wrote in his Autobiography. - Gogol at four - already read. Childhood - almost without comrades: comrades - books. The impressions of Lebedyan's life were later embodied in the stories Uyezdnoe (1912) and Alatyr (1914)."

"Zamiatin in 1902 entered the shipbuilding department of the St. Petersburg Polytechnic Institute, although even then his interest in literature was clearly indicated."

"He began to print in 1908. Zamyatin's pre-October work developed in the traditions of Russian critical realism and was colored by democratic tendencies."

“Observations on a totalitarian society were artistically embodied in the fantastic dystopian novel We (1920, published in Russian in 1952 in the USA). The novel was conceived as a parody of a utopia written by Proletkult ideologists A. Bogdanov and A. Gastev. The main idea of ​​the proletarian utopia was proclaimed a global reorganization of the world on the basis of "the destruction of the soul and feeling of love in a person".

“Zamiatin paid much attention to the problems of artistic mastery (in 1920-21 he taught a course in the latest literature in St. Petersburg Pedagogical Institute, technique of writing at the House of Arts). In the literary circle “Serapion Brothers” that formed around him, he was treated like a meter. He also published literary critical articles, where he passionately defended the freedom of creativity and warned writers against "all-absorbing unanimity" (articles "I'm afraid", 1921; "Paradise", 1921; "On literature, revolution, entropy and other things", 1924 and etc.). As an editor, he actively participated in the publication of the magazines "House of Arts", "Modern West", "Russian Contemporary", in the work of the publishing house "World Literature" and others.

“In 1931, realizing the futility of his further existence in the USSR (the novel “We” was ideologically defeated by Soviet critics who read it in manuscript), Zamyatin wrote to Stalin asking for permission to leave abroad, motivating his request by the fact that for him "as a writer, it is precisely the death sentence that is the deprivation of the opportunity to write." The decision to emigrate was not easy for Zamyatin. Love for the motherland, patriotism, which is imbued, for example, with the story Rus (1923), is one of the best evidence of this. Thanks to the petition of M. Gorky, in 1932 Zamyatin was able to leave for France. Zamyatin died in Paris on March 10, 1937.

SECTION 2. ARTISTIC ANALYSIS OF THE NOVEL "WE"

2.1 The meaning of the name "We"

And so, why "We"? Why not the "United State", not the "Tablet", namely "We"? This is important to know, because a lot depends on the correct interpretation of the title of the work, including understanding the content. The following is an explanation that most accurately conveys the meaning of the name of Yevgeny Zamyatin's dystopia:

“It was said that the author exposed himself by naming the book “We” and thus implies the people who made the revolution, which is shown in a crooked mirror. But it was only a rough overexposure. In Zamyatin, “we” is not a mass, but a social quality. In the One State, any individuality is excluded. The very possibility of becoming an "I", one way or another separated from the "we", is suppressed. There is only an impersonal enthusiastic crowd, which easily succumbs to the iron will of the Benefactor. The cherished idea of ​​Stalinism - not a man, but a "cog" in a gigantic state mechanism, which is subordinated to the firm hand of the machinist - is shown by Zamyatin as realized. This alone was enough to recognize "We" as a truly prophetic book."

2.2 Theme of the piece

“The most serious of her [book] theme arises immediately, from the very first entry of the narrator, in the very first paragraph. It quotes an article from the State Gazette (there obviously are no others): “You have to subdue the beneficent yoke of reason unknown creatures living on other planets - perhaps still in a wild state of freedom. If they do not understand that we are bringing them mathematically infallible happiness, it is our duty to make them happy.”

“E.I. Zamyatin showed the danger of turning a person into a “normalized worker”, who should devote all his strength only to the team and serving higher goals - the conquest of the universe with the help of science and technology.

In his novel, the author talks about the state of the future, “where all human material needs are resolved and where it was possible to develop universal mathematically verified happiness by abolishing freedom, the very human individuality, the right to independence of will and thought.<...>

“This is a society of transparent walls and an integrated life for everyone, pink love coupons (by appointment for any number, with the right to lower the curtains in the room), the same oil food, the strictest, strict discipline, mechanical music and poetry, which has one purpose - to sing wisdom the supreme ruler, the Benefactor. Happiness has been achieved - the most perfect of anthills has been erected. And now a cosmic supermachine is being built - the Integral, which is supposed to spread this unconditional, forced happiness to the entire Universe.

This is a single state where a single people lives. Where everyone is a cog in one great mechanism.

And, following the "requirements" of dystopia, this is precisely the society "in which negative development trends prevailed."

2.3 Problems of the novel

The two main problems that are raised in this work are the impact of the development of technology on humanity, as well as the problem of "totalitarianism". The remaining problems are already a product, a consequence of these two.

Let us consider what are the main problems in the dystopia “We” that V.A. Keldysh:

“Rational as a crime against humanity that destroys a living soul is one of the leitthemes of the novel. Intensively developing it, the author follows the long tradition of classical Russian literature. Another theme is especially in tune with our current environmental concerns. The "anti-society" depicted in "We" brings destruction to the nature of life, isolating man from nature."

Indeed, in this society, everyone is guided only by reason, emotions are suppressed, and what kind of emotions can we talk about if the soul itself is considered a “relic”? Let's at least remember last words D-503, after the Great Operation: “Have I ever felt—or imagined I feel it?

And I hope we win. More: I am sure - we will win. Because the mind must win.”

The problem of the family is also raised in the work. There can be no talk of any love. There is only room here for pink "love" coupons, which are really only used to satisfy physical needs. Children - are given to the upbringing of the state and are "common property". It's kind of like hyperbole. Soviet Union- Collectivization of children.

There is also an age-old question in the novel: what is happiness? The policy of the authorities of the One State is aimed at making everyone happy, convincing them of this, even if someone doubts their happiness. " The cult of reason, demanding the unfreedom of each and all as the first guarantee of happiness"- the basis of this policy. Indeed, no one tries to doubt their serene existence - an ideal society has been created. And does D-503 become happier, getting back all his human feelings and emotions? He is constantly haunted by fear, uncertainty, suspicion ... Is he happy? Maybe a person really just needs to be made to be happy?

The question of the sole power of the Benefactor (very reminiscent of Stalin), the question of an isolated society, the question of literature (they write only "geometric" poems that are incomprehensible to readers of our time), the question of human relations, even the question of unrequited love and many other questions and problems are raised in the novel "We" .

2.4 Features of the genre

When reading the interpretation of the term “dystopia”, all its features can be traced in the novel “We” by Yevgeny Zamyatin: this is both an image of a totalitarian state and an acute conflict (“In order for artistry to arise, a novel conflict is needed. And it is created in the most natural way: the character must experience doubt in the logical premises of a system that strives, as the designers of the United State dreamed, to make a person completely “machine-equal". He must experience this doubt as the culmination of his life, even if the denouement turns out to be tragic, apparently hopeless, like Zamyatin's"), and pseudo-carnival, which is the structural core of anti-utopia (“The fundamental difference between the classical carnival described by M.M. Bakhtin and the pseudo-carnival generated by the totalitarian era is that the basis of the carnival is ambivalent laughter, the basis of the pseudo-carnival is absolute fear. As follows from the nature of the carnival worldview, fear coexists with reverence and admiration for authority. The gap in distance between people at different levels of the social hierarchy is considered the norm for human relationships in A., as is the right of each to spy on the other. This is very clearly seen in the novel under consideration - people “love” the Benefactor, but at the same time they are afraid of him.), and the frequently encountered frame device (“... when the narrative itself turns out to be a story about another narrative, the text becomes a story about another text. This is typical for such works such as "We" by E. Zamyatin, "Invitation to Execution" by V. Nabokov, "1984" by J. Orwell. Such a narrative structure makes it possible to more fully and psychologically describe the image of the author of the "internal manuscript", which, as a rule, turns out to be one of the main (if not the most important) heroes of the work itself as a whole. The writing itself turns out to be a sign of the unreliability of this or that character, evidence of its provocative genre role. In many ways, the very fact of writing makes a dystopia a dystopia." The novel is nothing more than the notes of D-503 .), and quasi-nomination (“Its essence is that phenomena, objects, processes, people receive new names, and their semantics turns out to be different from the usual.<…>Renaming becomes a manifestation of power.” After all, the heroes of "We" do not have ordinary names, but "numbers".). From all of the above, the definition of We as a dystopia is irrefutable.

2.5 The idea of ​​the dystopia "We"

"We" is a brief artistic summary of a possible distant future prepared for humanity, a bold dystopia, a warning novel. “The novel grew out of Zamyatin's denial of global philistinism, stagnation, inertia, acquiring a totalitarian character in the conditions, as we would say now, of a computer society.<…>This is a reminder of possible consequences mindless technological progress, which eventually turns people into numbered ants, this is a warning about where science can lead, torn off from the moral and spiritual principles in the conditions of a global “superstate” and the triumph of technocrats.

“Zamiatina singled out a cross-cutting, relentless idea in his book about what happens to a person, a state, human society, when, worshiping the ideal of an absolutely expedient, from all sides of a reasonable being, they renounce freedom and put an equal sign between lack of freedom and happiness».

"The dystopia "We" painted an image of an undesirable future and warned of the danger of the spread of barracks communism, destroying in the name of an anonymous, blind collectivity the individual, the diversity of individuals, the wealth of social and cultural ties."

Orwell wrote: “It is quite probable, however, that Zamyatin did not at all think of choosing the Soviet regime as the main target of his satire.<…>Zamyatin's goal, apparently, is not to portray a specific country, but to show what threatens us with machine civilization.

Studying various sources describing what Zamyatin wanted to convey to the reader, one can notice their inconsistency. And not only to each other, but to ourselves. But even so, one thing is clear - warnings about the consequences of both "barracks communism" and technological progress are developed at the same level in the novel.

CONCLUSIONS

The genre of utopia has been developing since the 16th century, depicting fabulous states, non-existent islands, and the like. But already from the very definition it is clear that these ideas will never become a reality, they were just dreams. Therefore, utopia is soon replaced by dystopia, which draws a possible future, what a certain course of history can lead to. Thus, it saves humanity from wrong steps, warns of the possible consequences of its activities. Indeed, it is much easier to believe in something that can be than in something that never existed and that will never become a reality. Utopia is just an idealized fiction, the unjustified dreams of their authors. Yes, and each such society has a lot of shortcomings that are hidden under more significant "positive" features.

Dystopia, on the other hand, demonstrates the negative aspects of society, sometimes exaggerating them, exposing them to show what exactly is wrong, what should be changed, what should be avoided. Perhaps if you do everything the other way around than as described in some dystopian text, then you will get a real utopia. But this is unrealistic, since the ideal state does not exist as such. So it is a vicious circle consisting of two opposites.

But, as they say, it is useful to dream, therefore utopian literature is huge and diverse, having its own characteristics in each country, and which is characterized by particularly intensive development in the most complex, difficult historical periods.

Each state has its own "great" utopians. And, of course, there was "his own" in the USSR. Although little was known about him on the territory of the Union, considering him an opponent of communist power.

Yevgeny Zamyatin's dystopia "We" was one of the first most important dystopias of the 20th century - it gave impetus to the writing of a number of works in this genre. Zamyatin's followers were George Orwell ("1984"), Ray Bradbury("Fahrenheit 451"), O. Huxley ("Brave New World") and others.

Already here, the main genre features of anti-utopia have been established, such as: the image of a totalitarian state, acute conflict, pseudo-carnival, frame device, quasi-nomination, and the like.

In his novel, Yevgeny Zamyatin warned about the possible consequences of technological progress, the “mechanization” of society. At the same time, there is a theme here, perhaps not specifically anti-communist, but anti-totalitarian, the loss of a person's “I” and transformation into “we”.

“After “We”, Zamyatin’s view of the new reality gradually clears up, becomes wider. Doubts, however, remained afterward. More precisely, not even doubts, but adherence to their philosophically general view of modern world and the ratio of natural and historical principles in it.<...>The historical movement of the era is not at all hostile to Zamyatin. But he wants his elevation to the natural and universal principles.

BIBLIOGRAPHY

1.Dystopias of the 20th century: Evgeny Zamyatin, Aldous Huxley, George Orwell. - M.: Prince. chamber, 1989. - 352s. - (Popular library).

.Batalov E.Ya. In the world of utopia: Five dialogues about utopia, utopich. consciousness and utopian. experiments. - M.: Politizdat, 1989. - 319 p.

.Evening in 2217 / Comp., author. foreword and comment. V.P. Shestakov. - M.: Progress, 1990. - 720 p.: ill. - (Utopia and dystopia of the twentieth century).

4.Evgeny Zamyatin. Selected works. - M.: Soviet writer, 1989. - 767p.

.Zamyatin E.I. Selected works in 2 volumes. Vol. 1 / Entry. Article, comp., note. O. Mikhailova. - M.: Artist. lit., 1990. - 527 p.

.Zamyatin E.I. Selected works. Novels, short stories, fairy tales, novels, plays. - M.: Sov. writer, 1989. - 768 p.

.Zamyatin E.I. We: Novel, novels, short stories, songs, articles and memoirs / Comp. E.B. Skorospelova; Artistic A. Yavtushenko. - Chisinau: Lit. artistry, 1989. - 640 p.

8.Zamyatin E.I. Works. - M.: Book, 1988. - 575s., ill. (From the literary heritage).

9.Literary encyclopedia of terms and concepts / Ed. A.N. Nikolyukin. Institute of Scientific information on the social sciences of the Russian Academy of Sciences. - M.: NKP "Intelvak", 2001. - 1600 stb.

10.Literary encyclopedic Dictionary(Under the general editorship of V.M. Kozhevnikov, P.A. Nikolaev. Editorial staff: L.G. Andreev, N.I. Balashov, A.G. Bocharov and others) - M .: Sov. encyclopedia, 1987. - 752 p.

.Orwell J. "1984" and essay different years. - M., 1989. - 675 p.

.Timofeev L.I., Turaev S.V.: Dictionary literary terms. - M.: Enlightenment. - 1974. - 509 p.

13.Utopia and utopian thinking: an anthology zarubezhn. lit.: Per. with different lang. / Comp., total. ed. and foreword. V.A. Chalikova. - M.: Progress, 1991. - 405 p.

.Chalikova V.A. Utopia and freedom. - M.: Vesti - VIMO, 1994. - 184 p.

.Encyclopedia of World Literature / Comp. and scientific ed. S.V. Stakhorsky. - St. Petersburg: Nevskaya kniga, 2000. - 656 p.

16.#"justify">. http://ru.wikipedia.org/wiki/%D0%90%D0%BD%D1%82%D0%B8%D1%83%D1%82%D0%BE%D0%BF%D0%B8%D1 %8F

18.

.

.

Tutoring

Need help learning a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.