Here are some unexpected poetic arguments: poems by A.S. Pushkin and A.A. Akhmatova about the Tsarskoye Selo statue. If you don't have time to read everything, read the highlighted ones. Problems of the ecology of culture, the continuity of the cultural environment, which forms a person, creates a feeling for him at home, which is irreplaceable ...

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(1) I remember how in the middle of the twenties, after talking, we approached the monument to Pushkin and sat down on bronze chains that lowered the monument.

(2) At that time, he was still in his rightful place, in the head of Tverskoy Boulevard, facing the unusually graceful Passionate Monastery of delicate lilac color, surprisingly suited to his small golden onions.

(3) I still painfully feel the absence of Pushkin on Tverskoy Boulevard, the irreplaceable emptiness of the place where the Strastnoy Monastery stood. (4) Habit.

(5) No wonder Mayakovsky wrote, addressing Alexander Sergeevich: "On Tverskoy Boulevard they are very accustomed to you."

(6) I will add, I also add, to the old multi-armed lanterns, among which the figure of Pushkin with a bowed curly head, in a cloak with a harmonica of straight folds, was so beautifully drawn against the background of the Passionate Monastery.

(7) Then came an even more painful era of rearrangement and destruction of monuments. (8) The invisible omnipotent hand rearranged the monuments like chess pieces, and some of them were completely thrown off the board. (9) She moved the monument to Gogol by the brilliant Andreev, the same one where Nikolai Vasilyevich sits, mournfully burying his long nose in the collar of a bronze greatcoat - almost completely drowning in this greatcoat - from Arbat Square to the courtyard of the mansion, where, according to legend, the writer he burned the second part of Dead Souls in the fireplace, and in its place he hoisted another Gogol - full-length, in a short cape, on a boring official pedestal - a monument devoid of individuality and poetry ...

(YU) Memory collapses like the old city. (I) The voids of the reconstructed Moscow are filled with new architectural content. (12) And in memory lapses only ghosts of now no longer existing, abolished streets, lanes, dead ends ... (13) But how stable are these ghosts of churches, mansions, buildings that once existed here ... (14) Sometimes these ghosts are more real for me, than those that replaced them: the effect of presence!

(15) I studied Moscow and remembered it forever when I was still a pedestrian. (16) We were all once pedestrians and thoroughly, without too much haste, peered into the world of the city around us in all its details. (17) Each new day opened up new details of the city for the pedestrian, many old, long-not-restored churches of indescribably beautiful ancient Russian architecture.

(18) I have long ceased to be a pedestrian. (19) I go by car. (20) Moscow streets, along which I once passed, stopping at intersections and looking around at houses, now flash past me, not giving the opportunity to peer at their transformations.

(21) But one day the brakes screeched, the car braked sharply in front of a red traffic light. (22) If it weren't for the fastened seat belts, I could hit my head on the windshield. (23) This, undoubtedly, was the intersection of Myasnitskaya and the Boulevard Ring, but what a strange emptiness opened up in front of me in the place where I was used to seeing Vodopyany Lane. (24) He was not. (25) He disappeared, this Vodopyany lane. (26) He just didn't exist anymore. (27) He disappeared with all the houses that made him up. (28) As if they were all cut out of the body of the city. (29) The Turgenev Library disappeared. (DA) The bakery is gone. (31) The intercity meeting room has disappeared. (32) An unreasonably large area opened up - a void with which it was difficult to reconcile.

(ZZ) The emptiness seemed to me illegal, unnatural, like that incomprehensible, unfamiliar space that sometimes has to be overcome in a dream: everything around is familiar, but at the same time completely unfamiliar, and you do not know where to go to return home, and you forgot , where is your house, in which direction you need to go, and you go simultaneously in different directions, but each time you find yourself farther and farther from home, and meanwhile you know perfectly well that your house is within easy reach, it exists, it exists, but it is not visible, it is as if in another dimension.

(34) He became<…>.

(According to V.P. Kataev *)

* Valentin Petrovich Kataev (1897-1986) - Russian Soviet writer, poet, playwright, journalist, screenwriter.

Arguments

1. Old book. Bolkonsky erects a statue-monument to his daughter-in-law, the wife of his son (little princess), who died during childbirth, so that her son Nikolenka, when he grows up, could see his mother.

2.D.S. Likhachev "Letters about good and beautiful"

ENSEMBLES OF ART MONUMENTS

Each country is an ensemble of arts. The Soviet Union is also a grandiose ensemble of cultures or cultural monuments. Cities in the Soviet Union, however different they may be, are not isolated from each other. Moscow and Leningrad are not just different from each other - they contrast with each other and, therefore, interact. It is no coincidence that they are connected by a railway so straight that, having traveled in the train at night without turns and with only one stop and getting to a station in Moscow or Leningrad, you see almost the same station building that accompanied you in the evening; the facades of the Moscow railway station in Leningrad and the Leningradsky railway station in Moscow are the same. But the similarity of the stations emphasizes the sharp dissimilarity of the cities, the dissimilarity is not simple, but complementary to each other. Even art objects in museums are not just stored, but constitute some cultural ensembles associated with the history of cities and the country as a whole. The composition of the museums is far from being accidental, although in the history of their collections there are many individual accidents. No wonder, for example, in the museums of Leningrad there are so many Dutch painting (this is Peter I), as well as French (this is the St. Petersburg nobility of the 18th and early 19th centuries).

Look in other cities. The icons are worth seeing in Novgorod. This is the third largest and most valuable center of ancient Russian painting.

In Kostroma, Gorky and Yaroslavl one should see Russian painting of the 18th and 19th centuries (these are the centers of Russian noble culture), and in Yaroslavl there is also the “Volga” 17th century, which is presented here like nowhere else.

But if you take our entire country, you will be surprised at the diversity and originality of cities and the culture stored in them: in museums and private collections, and just on the streets, because almost every old house is a jewel. Some houses and entire cities are roads with their wooden carvings (Tomsk, Vologda), others - with an amazing layout, embankment boulevards (Kostroma, Yaroslavl), others - with stone mansions, and others - with intricate churches.

But they have a lot in common. One of the most typical features of Russian cities is their location on the high bank of the river. The city is visible from afar and is, as it were, drawn into the movement of the river: Veliky Ustyug, Volga cities, cities along the Oka. There are such cities in Ukraine: Kiev, Novgorod-Seversky, Putivl.

These are the traditions of Ancient Rus - Rus, from which came Russia, Ukraine, Belarus, and then Siberia with Tobolsk and Krasnoyarsk ...

A city on a high bank in perpetual motion. He "floats" by the river. And this is also the feeling of native open spaces inherent in Russia.

There is a unity of people, nature and culture in the country.

Preserving the diversity of our cities and villages, preserving their historical memory, their common national and historical originality is one of the most important tasks of our city planners. The whole country is a grandiose cultural ensemble. He must be preserved in his astounding wealth. It is not only the historical memory in one's city and in one's village that fosters up, but also the country as a whole fosters a person. Now people live not only in their "point", but throughout the country and not only in their own century, but in all the centuries of their history.

3. D.S. Likhachev "Letters about good and beautiful"

MEMORY OF CULTURE

We take care of our own health and the health of others, we monitor proper nutrition, so that the air and water remain clean, unpolluted. Environmental pollution makes a person sick, threatens his life, threatens the death of all mankind. Everyone knows the gigantic efforts that are being made by our state, individual countries, scientists, public figures to save the air, water bodies, seas, rivers, forests from pollution, to preserve the fauna of our planet, to save the camps of migratory birds, rookeries of sea animals. Humanity spends billions and billions not only in order not to suffocate, not to perish, but also to preserve the nature that surrounds us, which gives man the opportunity for aesthetic and moral relaxation. The healing power of the surrounding nature is well known.

The science that deals with the protection and restoration of the surrounding nature is called ecology. And ecology is already beginning to be taught at universities.

But ecology should not be confined only to the tasks of preserving the biological environment around us. A person lives not only in the natural environment, but also in the environment created by the culture of his ancestors and himself. The preservation of the cultural environment is a task no less important than the preservation of the surrounding nature. If nature is necessary for a person for his biological life, then the cultural environment is no less necessary for his spiritual, moral life, for his “spiritual settledness”, for his attachment to his native places, following the precepts of his ancestors, for his moral self-discipline and sociality. Meanwhile, the question of moral ecology is not only not studied, but also not posed. Certain types of culture and remnants of the cultural past, issues of restoration of monuments and their preservation are studied, but the moral significance and influence on a person of the entire cultural environment as a whole, its influencing force are not studied.

But the fact of the educational impact on a person of the surrounding cultural environment is not subject to the slightest doubt.

It is not far to go for examples. After the war, no more than 20 percent of its pre-war population returned to Leningrad, and nevertheless, those newly arrived in Leningrad quickly acquired those clear "Leningrad" traits of behavior that Leningrad residents are justly proud of. A person is brought up in the cultural environment that surrounds him imperceptibly for himself. He is brought up by history, the past. The past opens a window to the world for him, and not only a window, but also doors, even a gate - a triumphal gate. To live where the poets and prose writers of the great Russian literature lived, to live where the great critics and philosophers lived, to absorb daily impressions that were reflected in one way or another in the great works of Russian literature, to visit apartment-museums means to gradually enrich spiritually.

Streets, squares, canals, individual houses, parks remind, remind, remind ... Impressions of the past enter the spiritual world of a person unobtrusively and unstably, and a person with an open soul enters the past. He learns to respect ancestors and remembers what, in turn, will be needed for his descendants. The past and the future become their own for a person. He begins to learn responsibility - moral responsibility to the people of the past and at the same time to the people of the future, for whom the past will be no less important than for us, and perhaps with a general rise in culture and the multiplication of spiritual demands, even more important. Caring for the past is at the same time caring for the future ...

To love your family, your childhood impressions, your home, your school, your village, your city, your country, your culture and language, the entire globe is necessary, absolutely essential for a person's moral settledness. Man is not a tumbleweed steppe plant, which is driven by the autumn wind across the steppe.

If a person does not like at least occasionally looking at old photographs of his parents, does not appreciate the memory of them left in the garden that they cultivated, in the things that belonged to them, then he does not love them. If a person does not like old houses, old streets, even if they are inferior, then he has no love for his city. If a person is indifferent to the monuments of the history of his country, it means that he is indifferent to his country.

So, in ecology there are two sections: biological ecology and cultural ecology, or moral. Failure to comply with the laws of the first can kill a person biologically; failure to comply with the laws of the second can kill a person morally. Yes and no gap between them. Where is the exact border between nature and culture? Isn't there a presence of human labor in the Central Russian nature?

A person does not even need a building, but a building in a certain place. Therefore, it is necessary to store them, the monument and the landscape, together, and not separately. To keep the building in the landscape, to keep both in the soul. Man is a morally sedentary being, even if he was a nomad: after all, he also roamed in certain places. For the nomad, there was also a “settledness” in the vastness of his free nomadic camps. Only an immoral person is not sedentary and is capable of killing sedentaryism in others.

There is a big difference between the ecology of nature and the ecology of culture. This difference is not only great - it is fundamentally significant.

Loss in nature is recoverable up to certain limits. Contaminated rivers and seas can be cleaned; it is possible to restore forests, livestock of animals, etc. Of course, if a certain line is not crossed, if one or another breed of animals is not completely destroyed, if one or another variety of plants has not died. It was possible to restore bison both in the Caucasus and in Belovezhskaya Pushcha, even to settle them in the Beskids, that is, even where they had never existed before. At the same time, nature itself helps a person, for she is "alive". She has the ability to self-purify, to restore balance disturbed by a person. She heals the wounds inflicted on her from the outside: fires, or felling, or poisonous dust, gases, sewage ...

It is quite different with cultural monuments. Their losses are irreparable, because cultural monuments are always individual, always associated with a certain era in the past, with certain masters. Every monument is destroyed forever, distorted forever, wounded forever. And he is completely defenseless, he will not restore himself.

You can create models of destroyed buildings, as was the case, for example, in Warsaw, but you cannot restore a building as a “document”, as a “witness” of the era of its creation. Any rebuilt monument of antiquity will be devoid of documentary evidence. It will only be "visibility". Only portraits remain from the dead. But portraits do not speak, they do not live. Under certain circumstances, "remakes" make sense, and over time they themselves become "documents" of the era, the era when they were created. Old Place or Novy Svet Street in Warsaw will forever remain documents of the patriotism of the Polish people in the post-war years.

The "stock" of cultural monuments, the "stock" of the cultural environment is extremely limited in the world, and it is being depleted at an ever-increasing rate. Technique, which itself is a product of culture, sometimes serves more to mortify culture than to prolong the life of culture. Bulldozers, excavators, construction cranes, driven by thoughtless, ignorant people, can harm what is not yet discovered in the earth, and what is on the earth that has already served people. Even the restorers themselves, who sometimes work according to their own, insufficiently tested theories or our contemporary ideas about beauty, become more destroyers of the monuments of the past than their guardians. Monuments and city planners are destroying, especially if they do not have clear and complete historical knowledge.

The land becomes cramped for cultural monuments, not because there is little land, but because builders are attracted to old places that are inhabited, and therefore seem to be especially beautiful and tempting for city planners.

Urban planners, like no one else, need knowledge in the field of cultural ecology. Therefore, local history should be developed, it should be disseminated and taught in order to solve local environmental problems on the basis of it. In the first years after the Great October Socialist Revolution, regional studies experienced a rapid flourishing, but later weakened. Many local history museums were closed. However, now interest in local history has flared up with particular force. Local history fosters love for the native land and gives the knowledge, without which it is impossible to preserve cultural monuments in the field.

We should not place full responsibility for neglect of the past on others or simply hope that special state and public organizations are engaged in preserving the culture of the past and “this is their business,” not ours. We ourselves must be intelligent, cultured, educated, understand beauty and be kind - precisely kind and grateful to our ancestors, who created for us and our descendants all that beauty that not anyone else, namely, we sometimes do not know how to recognize, accept in their moral world, to preserve and actively defend.

Each person is obliged to know among what beauty and what moral values ​​he lives. He should not be self-confident and arrogant in rejecting the culture of the past indiscriminately and “judgment”. Everyone is obliged to take an all possible part in the preservation of culture.

We are responsible for everything, and not someone else, and it is in our power not to be indifferent to our past. It is ours, in our common possession.

3. A.S. Pushkin, as you know, was brought up at the Tsarskoye Selo Lyceum. The beauty of the palace and the palace park became for him a native, natural, “home environment” and, of course, influenced the formation of a genius. Here is his poem about the Tsarskoye Selo statue. The eternal stream, symbolizing the infinity of the movement of time, unexpectedly echoed in the poem by A. Akhmatova, who "entered" this cultural stream as into her own home and even showing feminine jealousy for the bronze girl admired by Pushkin ...

Tsarskoye Selo statue

Dropping the urn with water, the maiden broke it on the cliff.

The Virgo sits sadly, idle holding a shard.

Miracle! the water will not dry out, pouring out of the broken urn;

Virgo, above the eternal stream, sits always sadly.

TSARSKOSELSKAYA STATUE

Already maple leaves

Swan flies to the pond,

And the bushes are bloody

Slowly ripening rowan,

And dazzlingly slim

Curled up unabated legs,

On the northern stone she

Sits and looks at the roads.

I felt a vague fear

Before this girl praised.

Played on her shoulders

Rays of diminishing light.

And how could I forgive her

The delight of your praise for a lover ...

Look, she has fun to be sad

So smartly naked.

It is in the past that a person finds a source for the formation of consciousness, the search for his place in the world around him and in society. With memory loss, all social connections are lost. It is a certain life experience, awareness of the events experienced.

What is historical memory

It presupposes the preservation of historical and social experience. It is on how carefully the family, city, country treat traditions that directly depends on the essay on this issue is often found in the test tasks on literature in grade 11. We will also pay a little attention to this issue.

The sequence of the formation of historical memory

Historical memory has several stages of formation. After a while, people forget about the events that happened. Life constantly presents new episodes filled with emotions and unusual impressions. In addition, the events of past years are often distorted in articles and fiction, the authors not only change their meaning, but also make changes in the course of the battle, the disposition of forces. The problem of historical memory appears. Each author brings his own arguments from life, taking into account his personal vision of the described historical past. Due to the different interpretation of one event, ordinary people have the opportunity to draw their own conclusions. Of course, arguments are needed to substantiate your thought. The problem of historical memory exists in a society deprived of freedom of speech. Total censorship leads to distortion of real events, presenting them to wide layers of the population only in the right perspective. True memory can live and develop only in a democratic society. In order for information to pass to future generations without visible distortions, it is important to be able to compare events that occur in real time with facts from a past life.

Conditions for the formation of historical memory

Arguments on the topic "The problem of historical memory" can be found in many works of the classics. In order for a society to develop, it is important to analyze the experience of ancestors, to do “work on mistakes”, to use the rational grain that previous generations had.

"Black boards" by V. Soloukhin

What is the main problem with historical memory? Let us consider the arguments from the literature using this work as an example. The author tells about the plundering of the church in his native village. Unique books are handed over as waste paper, boxes are made of priceless icons. A carpentry workshop is being organized right in the church in Stavrovo. In another, a machine and tractor station is being opened. Trucks, caterpillar tractors come here, store barrels of fuel. The author bitterly says that neither a cowshed nor a crane can replace the Moscow Kremlin. It is impossible to locate a rest house in a monastery building where the graves of Pushkin's and Tolstoy's relatives are located. The work raises the problem of preserving historical memory. The arguments given by the author are indisputable. Not those who died, lie under the gravestones, need a memory, but the living!

Article by D.S.Likhachev

In his article "Love, Respect, Knowledge" the academician raises the topic of desecration of a national shrine, namely, he talks about the explosion of the monument to Bagration, the hero of the Patriotic War of 1812. Likhachev raises the problem of the historical memory of the people. The arguments given by the author relate to vandalism in relation to this work of art. After all, the monument was the gratitude of the people to their Georgian brother, who bravely fought for the independence of Russia. Who could destroy the cast iron monument? Only those who have no idea about the history of their country, do not love their Motherland, are not proud of their Fatherland.

Views on patriotism

What other arguments can you give? The problem of historical memory is raised in Letters from the Russian Museum, authored by V. Soloukhin. He says that, chopping off his own roots, striving to absorb a foreign, alien culture, a person loses his individuality. This Russian argument of problems of historical memory is supported by other patriots of Russia. Likhachev developed the "Declaration of Culture", in which the author calls for the protection and support of cultural traditions at the international level. The scientist emphasizes that without citizens' knowledge of the culture of the past, the present, the state will have no future. It is in the "spiritual security" of the nation that the nationwide existence lies. There should be interaction between external and internal culture, only in this case society will rise along the stages of historical development.

The problem of historical memory in the literature of the 20th century

In the literature of the last century, the central place was occupied by the issue of responsibility for the terrible consequences of the past, in the works of many authors there was a problem of historical memory. Arguments from the literature serve as direct evidence of this. For example, AT Tvardovsky called in his poem "By the Right of Memory" to rethink the sad experience of totalitarianism. Anna Akhmatova did not bypass this problem in the famous "Requiem". She reveals all the injustice, lawlessness that reigned in society at that time, gives weighty arguments. The problem of historical memory can also be traced in the work of A. I. Solzhenitsyn. His story "One Day in Ivan Denisovich" contains a verdict to the state system of that time, in which lies and injustice became priorities.

Respect for cultural heritage

The focus of everyone's attention is issues related to the preservation of ancient monuments. In the harsh post-revolutionary period, characterized by a change in the political system, there was a widespread destruction of former values. Russian intellectuals tried by any means to preserve the cultural relics of the country. DS Likhachev opposed the development of typical multi-storey buildings on Nevsky Prospekt. What other arguments can you give? The problem of historical memory was also touched upon by Russian filmmakers. With the funds raised by them, they managed to restore Kuskovo. What is the problem of the historical memory of the war? Arguments from the literature indicate that this issue has been relevant at all times. A.S. Pushkin said that "disrespect for ancestors is the first sign of immorality."

War theme in historical memory

What is historical memory? An essay on this topic can be written on the basis of the work of Chingiz Aitmatov "Storm station". His hero mankurt is a man who was forcibly deprived of his memory. He became a slave who has no past. Mankurt does not remember either the name or the parents, that is, it is difficult for him to be aware of himself as a person. The writer warns that such a creature is dangerous to social society.

Before the Victory Day, among the young people were held Questions related to the date of the beginning and end of the Great Patriotic War, important battles, military leaders. The responses received were disappointing. Many guys have no idea about the date of the beginning of the war, or about the enemy of the USSR, they have never heard of G.K. Zhukov, the Battle of Stalingrad. The poll showed how urgent the problem of the historical memory of the war is. The arguments put forward by the "reformers" of the history course curriculum at school, which reduced the number of hours devoted to studying the Great Patriotic War, are associated with an overload of students.

This approach has led to the fact that the modern generation forgets the past, therefore, important dates in the history of the country will not be passed on to the next generation. If you do not respect your history, do not honor your own ancestors, historical memory is lost. The essay for the successful passing of the exam can be argued with the words of the Russian classic A.P. Chekhov. He noted that for freedom a person needs the entire globe. But without a purpose, its existence will be absolutely meaningless. Considering the arguments for the problem of historical memory (USE), it is important to note that there are false goals that do not create, but destroy. For example, the hero of the story "Gooseberry" dreamed of buying his own estate, planting gooseberries there. The goal was completely absorbed by him. But, having reached it, he lost his human form. The author notes that his hero "has grown fat, flabby ... - just look, he will grunt into the blanket."

The story of I. Bunin "The gentleman from San Francisco" shows the fate of a man who served false values. The hero worshiped wealth as a god. After the death of the American millionaire, it turned out that real happiness passed him by.

The search for the meaning of life, awareness of the connection with ancestors managed to show I.A.Goncharov in the image of Oblomov. He dreamed of making his life different, but his desires were not embodied in reality, he did not have enough strength.

When writing an essay on the Unified State Exam on the topic "The Problem of the Historical Memory of War", the arguments can be cited from the work of Nekrasov "In the trenches of Stalingrad". The author shows the real life of "penalties" who are ready to defend the independence of the Fatherland at the cost of their lives.

Arguments for composing the exam in the Russian language

In order to get a good score for an essay, a graduate must argue his position using literary works. In M. Gorky's play At the Bottom, the author demonstrated the problem of “former” people who have lost the strength to fight for their own interests. They realize that it is impossible to live like they are, and it is necessary to change something, only they do not plan to do anything for this. The action of this work begins in a flophouse, and ends there. There is no question of any memory, pride in their ancestors, the heroes of the play do not even think about it.

Some are trying, lying on the couch, to talk about patriotism, others, sparing no effort and time, bring real benefits to their country. It is impossible to ignore, arguing about the historical memory, the amazing story of M. Sholokhov "The Fate of a Man". It tells about the tragic fate of an ordinary soldier who lost his relatives during the war. Having met an orphan boy, he calls himself his father. What does this act indicate? An ordinary person who has gone through the pain of loss is trying to resist fate. Love has not died out in him, and he wants to give it to a little boy. It is the desire to do good that gives the soldier the strength to live, no matter what. The hero of Chekhov's story "A Man in a Case" tells about "people who are satisfied with themselves." Having small-property interests, trying to distance themselves from other people's troubles, they are absolutely indifferent to the problems of other people. The author notes the spiritual impoverishment of the heroes who imagined themselves to be "masters of life", but in reality are ordinary bourgeoisie. They do not have real friends, they are only interested in their own well-being. Mutual assistance, responsibility for another person is clearly expressed in the work of B. Vasiliev "And the dawns here are quiet ...". All the wards of Captain Vaskov not only fight together for the freedom of the Motherland, they live according to human laws. In Simonov's novel The Living and the Dead, Sintsov carries his comrade out of the battlefield. All the arguments given from different ones help to understand the essence of historical memory, the importance of the possibility of preserving it, passing it on to other generations.

Conclusion

When congratulating on any holiday, wishes for a peaceful sky overhead sound. What does this testify to? The fact that the historical memory of the hard trials of the war is passed down from generation to generation. War! There are only five letters in this word, but immediately there is an association with suffering, tears, a sea of ​​blood, the death of relatives and friends. Unfortunately, there have always been wars on the planet. The groans of women, crying of children, echoes of war should be familiar to the younger generation from feature films, literary works. We must not forget about the terrible ordeals that befell the Russian people. At the beginning of the 19th century, Russia took part in the Patriotic War of 1812. To keep the historical memory of those events alive, Russian writers in their works tried to convey the features of that era. In his novel War and Peace, Tolstoy showed the patriotism of the people, their readiness to give their lives for the Fatherland. Reading poems, stories, novels about the Guerrilla War, young Russians get the opportunity to "visit the battlefields", to feel the atmosphere that prevailed in that historical period. In "Sevastopol Tales" Tolstoy talks about the heroism of Sevastopol, shown in 1855. The events are described by the author so reliably that one gets the impression that he himself was an eyewitness to that battle. Courage of spirit, unique willpower, amazing patriotism of the city's inhabitants are worthy of memory. Tolstoy associates war with violence, pain, dirt, suffering, death. Describing the heroic defense of Sevastopol in 1854-1855, he emphasizes the strength of the spirit of the Russian people. B. Vasiliev, K. Simonov, M. Sholokhov and other Soviet writers devoted many of their works to the battles of the Great Patriotic War. In this difficult period for the country, women worked and fought on an equal basis with men, even children did everything in their power.

At the cost of their lives, they tried to bring the Victory closer, to preserve the country's independence. Historical memory helps to preserve in the smallest detail information about the heroic deed of all soldiers and civilians. If the connection with the past is lost, the country will lose its independence. This must not be allowed!

Arguments for an essay in the Russian language.
Historical memory: past, present, future.
The problem of memory, history, culture, monuments, customs and traditions, the role of culture, moral choice, etc.

Why Preserve History? The role of memory. J. Orwell "1984"

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In George Orwell's novel 1984, the people are devoid of history. The homeland of the protagonist is Oceania. It is a huge country waging continuous wars. Under the influence of violent propaganda, people hate and seek to lynch their former allies, declaring yesterday's enemies as their best friends. The population is suppressed by the regime, it is unable to think independently and obeys the slogans of the party that governs the inhabitants for personal purposes. Such enslavement of consciousness is possible only with the complete destruction of the memory of people, the absence of their own view of the history of the country.
The history of one life, like the history of an entire state, is an endless series of dark and light events. We need to learn from them valuable lessons. The memory of the life of our ancestors should protect us from repeating their mistakes, serve us as an eternal reminder of everything good and bad. There is no future without memory of the past.

Why remember the past? Why do you need to know history? An argument from the book by D.S. Likhachev "Letters about good and beautiful".

Memory and knowledge of the past fill the world, make it interesting, significant, spiritualized. If you do not see its past behind the world around you, it is empty for you. You are bored, sad, and ultimately lonely. Let the houses we walk past, let the cities and villages in which we live, let even the factory where we work, or the ships we sail on, be alive for us, that is, they have a past! Life is not a one-moment existence. We will know history - the history of everything that surrounds us on a large and small scale. This is the fourth, very important dimension of the world. But we must not only know the history of everything that surrounds us, but also keep this history, this immense depth of the environment.

Why does a person need to keep customs? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Please note: children and young people are especially fond of customs, traditional festivities. For they master the world, master it in tradition, in history. Let us more actively defend everything that makes our life meaningful, rich and spiritual.

The problem of moral choice. An argument from the play by M.A. Bulgakov's "Days of the Turbins".

The heroes of the work must make a decisive choice, the political circumstances of the time force them to do this. The main conflict of Bulgakov's play can be described as the conflict between man and history. In the course of the development of the action, the heroes-intellectuals each in their own way enter into a direct dialogue with History. So, Alexey Turbin, realizing the doom of the white movement, the betrayal of the "headquarters crowd", chooses death. Nikolka, spiritually close to his brother, has a presentiment that a military officer, commander, a man of honor, Alexei Turbin, will prefer death to the shame of dishonor. Reporting about his tragic death, Nikolka sadly says: "They killed the commander ...". - as if in full agreement with the responsibility of the moment. The elder brother made his civil choice.
Those who remain will have to live with this choice. Myshlaevsky, with bitterness and doom, states the intermediate and therefore hopeless position of the intelligentsia in a catastrophic reality: "In front are the Red Guards, like a wall, behind are speculators and all sorts of rags with the hetman, and am I in the middle?" He is close to the recognition of the Bolsheviks, "because the peasants are a cloud behind the Bolsheviks ...". Studzinsky is convinced of the need to continue the struggle in the ranks of the White Guards, and rushes to the Don to Denikin. Elena leaves Talbert, a man whom she cannot respect, by her own admission, and will try to build a new life with Shervinsky.

Why is it necessary to preserve monuments of history and culture? An argument from the book by D.S. Likhachev "Letters about good and beautiful".

Each country is an ensemble of arts.
Moscow and Leningrad are not just different from each other - they contrast with each other and, therefore, interact. It is no coincidence that they are connected by a railway so straight that, having traveled in the train at night without turns and with only one stop and getting to a station in Moscow or Leningrad, you see almost the same station building that accompanied you in the evening; the facades of the Moscow railway station in Leningrad and the Leningradsky railway station in Moscow are the same. But the similarity of the stations emphasizes the sharp dissimilarity of the cities, the dissimilarity is not simple, but complementary to each other. Even art objects in museums are not just stored, but constitute some cultural ensembles associated with the history of cities and the country as a whole.
Look in other cities. The icons are worth seeing in Novgorod. This is the third largest and most valuable center of ancient Russian painting.
In Kostroma, Gorky and Yaroslavl one should see Russian painting of the 18th and 19th centuries (these are the centers of Russian noble culture), and in Yaroslavl there is also the “Volga” 17th century, which is presented here like nowhere else.
But if you take our entire country, you will be surprised at the diversity and originality of cities and the culture stored in them: in museums and private collections, and just on the streets, because almost every old house is a jewel. Some houses and entire cities are roads with their wooden carvings (Tomsk, Vologda), others - with an amazing layout, embankment boulevards (Kostroma, Yaroslavl), others - with stone mansions, and others - with intricate churches.
Preserving the diversity of our cities and villages, preserving their historical memory, their common national and historical originality is one of the most important tasks of our city planners. The whole country is a grandiose cultural ensemble. He must be preserved in his astounding wealth. It is not only the historical memory in one's city and in one's village that fosters up, but also the country as a whole fosters a person. Now people live not only in their "point", but throughout the country and not only in their own century, but in all the centuries of their history.

What role do historical and cultural monuments play in human life? Why is it necessary to preserve monuments of history and culture? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Historical memories are especially vivid in parks and gardens - associations of man and nature.
Parks are valuable not only for what they have, but also for what was in them. The temporal perspective that opens up in them is no less important than the visual perspective. "Memories in Tsarskoe Selo" - this is how Pushkin called the best of his earliest poems.
The attitude to the past can be of two kinds: as a kind of spectacle, theater, performance, scenery and as a document. The first relation seeks to reproduce the past, to revive its visual image. The second seeks to preserve the past at least in its partial remnants. For the first in gardening art, it is important to recreate the external, visual image of the park or garden as it was seen at one time or another in his life. For the second, it is important to feel the evidence of time, documentary is important. The first says: this is how he looked; the second testifies: this is the one, he was, perhaps, not like that, but this is truly the one, these are the lime trees, those garden structures, the very sculptures. Two or three old hollow linden trees among hundreds of young ones will testify: this is the same alley - here they are, old-timers. And you don't need to take care of young trees: they grow quickly and soon the alley will return to its former appearance.
But there is another significant difference in the two relations to the past. The first will require: only one era - the era of the creation of the park, or its heyday, or something significant. The second will say: let all epochs, significant in one way or another, live, the whole life of the park is valuable, memories of different eras and of various poets who glorified these places are valuable, and restoration will require not restoration, but preservation. The first attitude to parks and gardens was discovered in Russia by Alexander Benois with his aesthetic cult of the time of Empress Elizabeth Petrovna and her Catherine Park in Tsarskoe Selo. Akhmatova poeticly polemicized with him, for whom Pushkin was important in Tsarskoye, not Elizabeth: "Here lay his cocked hat and a disheveled volume of Guys."
The perception of a monument of art is only full when it mentally recreates, creates together with the creator, and is filled with historical associations.

The first relation to the past creates, in general, teaching aids, training models: look and know! The second attitude to the past requires truth, analytical ability: it is necessary to separate age from the object, it is necessary to imagine how it was here, it is necessary to investigate to some extent. This second attitude requires more intellectual discipline, more knowledge from the viewer himself: look and imagine. And this intellectual attitude towards the monuments of the past sooner or later arises again and again. It is impossible to kill the true past and replace it with a theatrical, even if the theatrical reconstruction destroyed all the documents, but the place remained: here, in this place, on this soil, in this geographical point, it was - it was, it was, something memorable happened.
Theatricality also penetrates into the restoration of architectural monuments. Authenticity is lost among the supposedly restored. Restorers trust random evidence if this evidence allows the restoration of this architectural monument as it could be of particular interest. This is how the Evfimievskaya chapel was restored in Novgorod: it turned out to be a small temple on a pillar. Something completely alien to ancient Novgorod.
How many monuments were destroyed by restorers in the 19th century due to the introduction of elements of aesthetics of the new era into them. Restorers sought symmetry where it was alien to the very spirit of the style - Romanesque or Gothic - they tried to replace the living line with a geometrically correct, mathematically calculated, etc. This is how the Cologne Cathedral, Notre Dame in Paris, and the Abbey of Saint-Denis were dried. ... Whole cities in Germany were dried up, mothballed, especially during the period of idealization of the German past.
The attitude to the past forms its own national identity. For every person is a bearer of the past and a bearer of a national character. A person is a part of society and a part of its history.

What is memory? What is the role of memory in human life, what is the value of memory? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Memory is one of the most important properties of being, of any being: material, spiritual, human ...
Individual plants, a stone on which traces of its origin remain, glass, water, etc. have memory.
Birds possess the most complex forms of ancestral memory, allowing new generations of birds to fly in the right direction to the right place. In explaining these flights, it is not enough to study only the "navigation techniques and methods" that birds use. The most important thing is the memory that makes them look for winter quarters and summer quarters - always the same.
And what can we say about "genetic memory" - a memory laid down in centuries, a memory that passes from one generation of living beings to the next.
Moreover, memory is not at all mechanical. This is the most important creative process: it is a process and it is a creative one. What is needed is remembered; through memory, good experience is accumulated, a tradition is formed, everyday skills, family skills, work skills, social institutions are created ...
Memory is opposed to the destructive power of time.
Memory is overcoming time, overcoming death.

Why is it important for a person to keep the memory of the past? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

The greatest moral significance of memory is overcoming time, overcoming death. A "forgetful" is, first of all, an ungrateful, irresponsible person, and, consequently, incapable of good, disinterested deeds.
Irresponsibility is born of the lack of consciousness that nothing passes without a trace. A person who commits an unkind act thinks that this act will not remain in his personal memory and in the memory of those around him. He himself, obviously, is not used to preserving the memory of the past, to feel a sense of gratitude to his ancestors, to their work, their cares, and therefore thinks that everything will be forgotten about him.
Conscience is basically a memory, to which a moral assessment of the perfect is added. But if the perfect is not preserved in memory, then there can be no evaluation. There is no conscience without memory.
That is why it is so important to be brought up in the moral climate of memory: family memory, national memory, cultural memory. Family photographs are one of the most important "visual aids" in the moral education of children and adults alike. Respect for the work of our ancestors, for their labor traditions, for their tools, for their customs, for their songs and entertainment. All this is dear to us. And just respect for the graves of ancestors.
Remember Pushkin:
Two feelings are marvelously close to us -
In them, the heart finds food -
Love for the native ashes,
Love for fatherly coffins.
Life-giving shrine!
The earth would be dead without them.
Our consciousness cannot immediately get used to the idea that the earth would be dead without love for paternal coffins, without love for native ashes. Too often we remain indifferent or even almost hostile to disappearing cemeteries and ashes - two sources of our not-too-wise gloomy thoughts and superficially heavy moods. Just as a person's personal memory forms his conscience, his conscientious attitude towards his personal ancestors and loved ones - relatives and friends, old friends, that is, the most faithful ones with whom he is associated with common memories - so the historical memory of a people forms a moral climate in which the people live. Perhaps one could think about whether to build morality on something else: completely ignore the past with its, at times, mistakes and difficult memories and be completely directed towards the future, build this future on "reasonable grounds" by themselves, forget about the past with its dark and light sides.
This is not only unnecessary, but also impossible. The memory of the past is, first of all, "bright" (Pushkin's expression), poetic. She educates aesthetically.

How are the concepts of culture and memory related? What is memory and culture? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Human culture as a whole not only possesses memory, but it is memory par excellence. The culture of humanity is an active memory of humanity, actively introduced into the present.
In history, every cultural upsurge was in one way or another associated with an appeal to the past. How many times has humanity, for example, turned to antiquity? At least, there were four large, epoch-making conversions: under Charlemagne, under the Palaeologus dynasty in Byzantium, during the Renaissance, and again at the end of the 18th - beginning of the 19th centuries. And how many "small" references of culture to antiquity - in the same Middle Ages. Each appeal to the past was "revolutionary", that is, it enriched modernity, and each appeal understood this past in its own way, took from the past what it needed to move forward. I'm talking about the appeal to antiquity, but what did the appeal to its own national past give for each people? If it was not dictated by nationalism, a narrow desire to isolate oneself from other peoples and their cultural experience, it was fruitful, for it enriched, diversified, expanded the culture of the people, its aesthetic sensitivity. After all, each appeal to the old in new conditions was always new.
She knew several references to Ancient Rus and post-Petrine Russia. There were different sides to this appeal. The discovery of Russian architecture and icons at the beginning of the 20th century was largely devoid of narrow nationalism and was very fruitful for the new art.
I would like to demonstrate the aesthetic and moral role of memory using the example of Pushkin's poetry.
In Pushkin, Memory plays a huge role in poetry. The poetic role of memories can be traced from children's, youthful poems by Pushkin, of which the most important is "Memories in Tsarskoe Selo", but later the role of memories is very great not only in Pushkin's lyrics, but even in the poem "Eugene".
When Pushkin needs to introduce a lyrical beginning, he often resorts to recollections. As you know, Pushkin was not in St. Petersburg during the flood of 1824, but nevertheless, in The Bronze Horseman, the flood is colored by a memory:
"It was a terrible time, a fresh memory of it ..."
Pushkin also paints his historical works with a share of personal, ancestral memory. Remember: in "Boris Godunov" his ancestor Pushkin acts, in "Arapa of Peter the Great" - also an ancestor, Hannibal.
Memory is the basis of conscience and morality, memory is the basis of culture, “accumulations” of culture, memory is one of the foundations of poetry - the aesthetic understanding of cultural values. To preserve memory, to preserve memory is our moral duty to ourselves and to our descendants. Memory is our wealth.

What is the role of culture in human life? What are the consequences of the disappearance of monuments for humans? What role do historical and cultural monuments play in human life? Why is it necessary to preserve monuments of history and culture? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

We take care of our own health and the health of others, we monitor proper nutrition, so that the air and water remain clean, unpolluted.
The science that deals with the protection and restoration of the surrounding nature is called ecology. But ecology should not be confined only to the tasks of preserving the biological environment around us. A person lives not only in the natural environment, but also in the environment created by the culture of his ancestors and himself. The preservation of the cultural environment is a task no less important than the preservation of the surrounding nature. If nature is necessary for a person for his biological life, then the cultural environment is no less necessary for his spiritual, moral life, for his “spiritual settledness”, for his attachment to his native places, following the precepts of his ancestors, for his moral self-discipline and sociality. Meanwhile, the question of moral ecology is not only not studied, but also not posed. Certain types of culture and remnants of the cultural past, issues of restoration of monuments and their preservation are studied, but the moral significance and influence on a person of the entire cultural environment as a whole, its influencing force are not studied.
But the fact of the educational impact on a person of the surrounding cultural environment is not subject to the slightest doubt.
A person is brought up in the cultural environment that surrounds him imperceptibly for himself. He is brought up by history, the past. The past opens a window to the world for him, and not only a window, but also doors, even a gate - a triumphal gate. To live where the poets and prose writers of the great Russian literature lived, to live where the great critics and philosophers lived, to absorb daily impressions that were reflected in one way or another in the great works of Russian literature, to visit apartment-museums means to gradually enrich spiritually.
Streets, squares, canals, individual houses, parks remind, remind, remind ... Impressions of the past enter the spiritual world of a person unobtrusively and unstably, and a person with an open soul enters the past. He learns to respect ancestors and remembers what, in turn, will be needed for his descendants. The past and the future become their own for a person. He begins to learn responsibility - moral responsibility to the people of the past and at the same time to the people of the future, for whom the past will be no less important than for us, and perhaps with a general rise in culture and the multiplication of spiritual demands, even more important. Caring for the past is at the same time caring for the future ...
To love your family, your childhood impressions, your home, your school, your village, your city, your country, your culture and language, the entire globe is necessary, absolutely essential for a person's moral settledness.
If a person does not like at least occasionally looking at old photographs of his parents, does not appreciate the memory of them left in the garden that they cultivated, in the things that belonged to them, then he does not love them. If a person does not like old houses, old streets, even if they are inferior, then he has no love for his city. If a person is indifferent to the monuments of the history of his country, it means that he is indifferent to his country.
Loss in nature is recoverable up to certain limits. It is quite different with cultural monuments. Their losses are irreparable, because cultural monuments are always individual, always associated with a certain era in the past, with certain masters. Every monument is destroyed forever, distorted forever, wounded forever. And he is completely defenseless, he will not restore himself.
Any rebuilt monument of antiquity will be devoid of documentary evidence. It will only be "visibility."
The "stock" of cultural monuments, the "stock" of the cultural environment is extremely limited in the world, and it is being depleted at an ever-increasing rate. Even the restorers themselves, who sometimes work according to their own, insufficiently tested theories or our contemporary ideas about beauty, become more destroyers of the monuments of the past than their guardians. Monuments and city planners are destroying, especially if they do not have clear and complete historical knowledge.
The land becomes cramped for cultural monuments, not because there is little land, but because builders are attracted to old places that are inhabited, and therefore seem to be especially beautiful and tempting for city planners.
Urban planners, like no one else, need knowledge in the field of cultural ecology. Therefore, local history should be developed, it should be disseminated and taught in order to solve local environmental problems on the basis of it. Local history fosters love for the native land and gives the knowledge, without which it is impossible to preserve cultural monuments in the field.
We should not place full responsibility for neglect of the past on others or simply hope that special state and public organizations are engaged in preserving the culture of the past and “this is their business,” not ours. We ourselves must be intelligent, cultured, educated, understand beauty and be kind - precisely kind and grateful to our ancestors, who created for us and our descendants all that beauty that not anyone else, namely, we sometimes do not know how to recognize, accept in their moral world, to preserve and actively defend.
Each person is obliged to know among what beauty and what moral values ​​he lives. He should not be self-confident and arrogant in rejecting the culture of the past indiscriminately and “judgment”. Everyone is obliged to take an all possible part in the preservation of culture.
We are responsible for everything, and not someone else, and it is in our power not to be indifferent to our past. It is ours, in our common possession.

Why is it important to preserve historical memory? What are the consequences of the disappearance of monuments for humans? The problem of changing the historical appearance of the old city. An argument from the book by D.S. Likhachev "Letters about good and beautiful".

In September 1978, I was at the Borodino field with the wonderful restorer Nikolai Ivanovich Ivanov. Have you paid attention to what kind of dedicated people are found among the restorers and museum workers? They cherish things and things pay them in love. Things and monuments give their keepers love for themselves, affection, noble devotion to culture, and then a taste and understanding of art, an understanding of the past, a heartfelt attraction to the people who created them. True love for people, for monuments never goes unanswered. That is why people find each other, and the land, well-groomed by people, finds people who love it and itself responds to them in the same way.
For fifteen years Nikolai Ivanovich did not go on vacation: he cannot rest outside the Borodino field. He lives for several days of the Battle of Borodino and the days that preceded the battle. Borodin's field is of colossal educational value.
I hate the war, I endured the Leningrad blockade, Nazi shelling of civilians from warm shelters, in positions on the Duderhof heights, I was an eyewitness to the heroism with which Soviet people defended their Motherland, with what incomprehensible staunchness they resisted the enemy. Perhaps that is why the Battle of Borodino, which always amazed me with its moral strength, acquired a new meaning for me. Russian soldiers repulsed eight fierce attacks on the Raevsky battery, which followed one after another with unheard-of stubbornness.
In the end, the soldiers of both armies fought in total darkness, by touch. The moral strength of the Russians was multiplied tenfold by the need to defend Moscow. And Nikolai Ivanovich and I bared our heads in front of the monuments to heroes erected on the Borodino field by grateful descendants ...
In my youth I came to Moscow for the first time and accidentally came across the Church of the Assumption on Pokrovka (1696-1699). She cannot be imagined from the surviving photographs and drawings; she should have been seen surrounded by low ordinary buildings. But then people came and demolished the church. Now there is a wasteland in this place ...
Who are these people who are destroying the living past - the past, which is also our present, for culture does not die? Sometimes it is the architects themselves - one of those who really want to put their "creation" in a winning place and are too lazy to think about something else. Sometimes these are completely random people, and we are all to blame for this. We must think about how this does not happen again. Cultural monuments belong to the people, and not only to our generation. We are responsible for them to our descendants. We will be in great demand in a hundred and two hundred years.
Historic cities are inhabited not only by those who live in them now. They are inhabited by great people of the past, whose memory cannot die. The channels of Leningrad reflected Pushkin and Dostoevsky with the characters of his "White Nights".
The historical atmosphere of our cities cannot be captured by any photographs, reproductions and models. This atmosphere can be revealed, emphasized by reconstructions, but it can also be easily destroyed - destroyed without a trace. It is unrecoverable. We must preserve our past: it has the most effective educational value. It fosters a sense of responsibility towards the Motherland.
This is what the Petrozavodsk architect V.P. Orfinsky, the author of many books on the folk architecture of Karelia, told me. On May 25, 1971, a unique chapel of the early 17th century in the village of Pelkula, an architectural monument of national importance, burned down in the Medvezhyegorsk district. And no one even began to find out the circumstances of the case.
In 1975, another monument of architecture of national importance burned down - the Ascension Church in the village of Tipinitsy, Medvezhyegorsk District - one of the most interesting hipped-roof temples in the Russian North. The reason is lightning, but the true root cause is irresponsibility and negligence: the high-rise hipped pillars of the Ascension Church and the bell tower interlocked with it did not have elementary lightning protection.
The tent of the Nativity Church of the 18th century fell in the village of Bestuzhev, Ustyansky District, Arkhangelsk Region - the most valuable monument of hipped-roof architecture, the last element of the ensemble, very accurately placed in the bend of the Ustya River. The reason is sheer neglect.
And here is a small fact about Belarus. In the village of Dostoyevo, where Dostoevsky's ancestors came from, there was a small church of the 18th century. Local authorities, in order to get rid of responsibility, fearing that the monument would be registered with the guarded, ordered to demolish the church with bulldozers. Only measurements and photographs remained from her. It happened in 1976.
Many such facts could be collected. What can you do so that they do not repeat? First of all, one should not forget about them, pretend that they did not exist. Not enough and prohibitions, instructions and boards with the indication "Protected by the state." It is necessary that the facts of a hooligan or irresponsible attitude to cultural heritage are rigorously examined in courts and the perpetrators should be severely punished. But this is not enough. It is absolutely necessary to study local history already in secondary school, to study in circles on the history and nature of your region. It is youth organizations that should first of all take patronage over the history of their region. Finally, and most importantly, high school history teaching programs need to include lessons in local history.
Love for one's homeland is not something abstract; it is love for their city, for their locality, for the monuments of its culture, pride in their history. That is why the teaching of history at school should be specific - on the monuments of history, culture, the revolutionary past of their area.
One cannot only call on patriotism, it must be carefully nurtured - to cultivate love for one's native places, to cultivate a spiritual settledness. And for all this, it is necessary to develop the science of cultural ecology. Not only the natural environment, but also the cultural environment, the environment of cultural monuments and its impact on humans must be thoroughly studied scientifically.
There will be no roots in the native area, in the native country - there will be many people similar to the steppe tumbleweed plant.

Why do you need to know history? The relationship between the past, present and future. Ray Bradbury "And Thunder Came"

The past, present and future are interconnected. Every act we do is reflected in the future. So, R. Bradbury in the story "" invites the reader to imagine what could happen if a person had a time machine. There is such a machine in his imaginary future. Thrill-seekers are offered time safaris. The main character Eckels embarks on an adventure, but he is warned that nothing can be changed, only those animals that must die of disease or for some other reason can be killed (all this is specified by the organizers in advance). Once in the age of the dinosaurs, Eckels is so frightened that he runs away from the permitted terrain. His return to the present shows how important every detail is: there is a trampled butterfly on his sole. Once in the present, he found that the whole world had changed: the colors, the composition of the atmosphere, the person, and even the spelling rules had changed. Instead of a liberal president, a dictator was in power.
Thus, Bradbury conveys the following idea: the past and the future are interconnected. We are responsible for every act that we have done.
Looking into the past is necessary in order to know your future. Everything that has ever happened has influenced the world in which we live. If you can draw a parallel between the past and the present, then you can come to the future you want.

What is the cost of a mistake in history? Ray Bradbury "And Thunder Rocked"

Sometimes the cost of a mistake can cost the life of all mankind. So, in the story "" it is shown that one minor mistake can lead to disaster. The protagonist of the story, Eckels, steps on a butterfly during a journey into the past; with his oversight, he changes the whole course of history. This story shows how carefully you need to think before doing anything. He had been warned of danger, but the thirst for adventure was stronger than common sense. He could not correctly assess his abilities and capabilities. This led to disaster.

In the text proposed for analysis, the Russian Soviet writer Valentin Petrovich Kataev raises the problem of the disappearance of cultural and historical heritage.

To draw the reader's attention to this problem, the author talks about the beauty and elegance of Moscow monuments. The writer notes that each monument can tell its own story about the person to whom this monument was dedicated. For example, sentence 9 deals with the connection between the monument to Gogol and the life of this writer: next to the monument there was "... a mansion, where, according to legend, the writer burned the second part of Dead Souls in the fireplace.

V. Kataev emphasizes that the works of art that once filled the streets, even when they disappeared, are kept in the memory of people. This idea can be traced in sentence 12 “… only the ghosts of now no longer existing, abolished streets, lanes, dead ends…” remain in the memory.

The position of the author is as follows: Each monument is a history, and by destroying monuments to historical figures, a person destroys a piece of world history and the history of his life, moments of which may be associated with cultural objects on the streets of his native city.

I fully share the writer's point of view. Indeed, a person should treat works of art with respect, preserving cultural heritage, not destroying it. Let us turn to the literature and confirm the stated idea with arguments. Let us recall the poem by A.S. Pushkin's "The Bronze Horseman", in the first part of which the emphasis is on the history of this monument, the person depicted on this monument and the city, a part of which is the Bronze Horseman. Also in this poem, the author points out that historical and cultural objects can exist for centuries, keeping the history of events with them and then telling it to new generations.

In life, one can give an example of indifference to monuments and their history. Once I happened to visit the Polish city of Penenzho, where I saw a monument to the General of the Soviet Army I.D. Chernyakhovsky. I was proud that the story of the heroes of the Second World War is preserved to this day, not only in the countries of the former USSR, but also in European countries. However, in 2015, I learned that they decided to demolish this monument, thus depriving many people of the opportunity to meet such an outstanding person, a hero of World War II.

In conclusion, we can say that everyone has a duty to preserve the cultural heritage of their country, because all monuments, monuments, streets, buildings are our history, which we must preserve for future generations.

Updated: 2018-02-09

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In this material, we focused the reader's attention on the main problems raised in the texts on the exam in the Russian language. Arguments illustrating these problems are found under the appropriate headings. You can also download a table with all these examples at the end of the article.

1. IN novels by V.G. Rasputin "Farewell to Matera" the author touches upon the problem of natural heritage preservation, which is very important for the whole society. The writer notes that without knowing the past, it is impossible to build a worthy future. Nature is also a memory, our history. So, the death of the island of Matera and the small village of the same name became the reason for the loss of memory of the wonderful days of life in this area, its former inhabitants ... Unfortunately, only the older generation, for example, the main character Daria Pinigina, understood that Matera is not just an island, it is a connection with the past, the memory of ancestors. When Matera disappeared under the waters of the raging Angara, and the last inhabitant left this place, the memory died.
2. Hero story science fiction story American writer Ray Bradbury "And Thunder Rocked" is also a confirmation that nature is part of our shared history. Nature, time and memory - all these concepts are woven together, and this is emphasized by the science fiction writer. The death of a small creature, a butterfly, became the cause of the death of the future of the whole world. Interventions in wildlife from the prehistoric past have been very costly for the inhabitants of planet Earth. Thus, the problem of preserving natural heritage in the story of Ray Bradbury "And Thunder Rocked" is raised so that people think about the value of the environment, because it is inextricably linked with the history of mankind.

Preservation of cultural heritage

1. In the book of the Soviet and Russian philologist and culturologist D.S. Likhachev "Letters about good and beautiful" the problem of preservation of cultural heritage is revealed. The author makes his readers think about what cultural monuments mean for a person. The Doctor of Philology reminds us that, unlike natural objects, architectural structures are not capable of self-healing. He encourages everyone to take an active part in preserving the memory frozen in clay and plaster. In his opinion, no one should reject the culture of the past, since it is the foundation of our future. This statement should convince every caring person to try to solve the problem of preserving cultural heritage, posed by D.S. Likhachev.
2. IN novel by I.S. Turgenev "Fathers and Sons" one of the main characters, Pavel Petrovich Kirsanov, is sure that culture is irreplaceable in people's lives. The author tries to convey through this hero the idea of ​​the importance of cultural heritage not only to the nihilist Yevgeny Bazarov, but also to all readers. Without the healing influence of art, Eugene, for example, could not understand himself and realize in time that he is a romantic and also needs warmth and affection. It is the spiritual sphere that helps us to know ourselves, so we cannot deny it. Music, fine arts, literature make a person noble, morally beautiful, therefore, it is necessary to take care of the preservation of cultural monuments.

Memory problem in family relationships

1. In the story of K.N. Paustovsky "Telegram" For many years Nastya forgot about her mother, did not come, did not visit. She justified herself by being busy every day, but no work could be compared in importance with her own mother. The story of the main character is given by the author for the edification of the reader: the care and love of parents should not be forgotten by children, because one day it will be too late to repay them in kind. So it happened with Nastya. Only after the death of her mother, the girl realized that she had devoted very little time to the one that protected her sleep by the crib.
2. The words of parents, their instructions are sometimes remembered by children for many years and even for life. So, the main character novels by A.S. Pushkin's "The Captain's Daughter", Peter Grinev, very clearly understood for himself the simple truth of his father "take care of honor from a young age." Thanks to his parents and their instructions, the hero never gave up, did not blame anyone for his problems, accepted defeat with honor and dignity, if life demanded it. The memory of parents was something sacred for Pyotr Grinev. He respected their opinion, tried to justify confidence in himself, later this helped him become happy and free.

Historical memory problem

1. In the novel by B. L. Vasiliev "Not included in the lists" the main character had not yet had time to check in at a combat post when the bloody Second World War began. He put all his young forces into the defense of the Brest Fortress, during which everyone died. Even when left alone, he never ceased to terrify the occupiers with his night forays. When Pluzhnikov was caught, the enemies saluted him, as the Soviet soldier amazed them with his courage. But the title of the novel tells us that many of these nameless heroes are lost in the hustle and bustle of days when they simply did not have time to be included in the next list. But how much have they, unrecognized and forgotten, done for us? In order for us to at least preserve this in our memory, the author dedicated a whole work to the feat of Nikolai Pluzhnikov, which thereby became a monument of military glory at the mass grave.
2. In Brave New World by Aldous Huxley describes a society that denies its history. As we can see, their ideal life, not darkened by memories, has become just a cloying and meaningless semblance of real life. They have no feelings and emotions, family and marriage, friendship and other values ​​that define their personality. All new people are dummies, existing according to the laws of reflexes and instincts, primitive creatures. Against their background, the Savage stands out favorably, whose upbringing was built on connection with the achievements and defeats of past eras. That is why his personality is undeniable. Only historical memory, expressed in the continuity of generations, allows us to develop harmoniously.
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