Abdulaev E.N. What is ICS equal to? Reflections of the participant of the RIO meeting

Russian Historical Society, to which I was invited as editor-in-chief of the journal Teaching History at School. So, alas, it turned out that attempts to organize a professional community of history teachers from below and make the Association of Teachers of History and Social Science a body capable of representing the interests and views of a truly broad teaching community, organizing it and really influencing decisions made in the professional sphere, were not successful. I will not now analyze the causes of this sad, but in many respects a natural phenomenon. As a rule, decisions on important professional issues that significantly affect the work of a mass of teachers and methodologists who are forced to carry them out are made upstairs and the professional community is only confronted with the fact of the decision. In view of the established practice, it would be very interesting to hear the opinion top on a number of significant issues, for which I decided to use the invitation and attend the RIO meeting. Of course, I was curious about the historical part of the speeches, and I listened with interest and great attention to the report of A. G. Zvyagintsev on the Nuremberg Trials, the 70th anniversary of which the RIO meeting is timed to coincide with. But as a teacher and methodologist, I was more interested in the assessment of the educational activities of the society, a brief report on which was made by Academician A. O. Chubaryan.

One of the main merits of RIO is the development of the IKS (historical and cultural standard for the history of the Fatherland).

It is planned to hold a joint conference (extended meeting) with the Association of Teachers of History and Social Science following the results of the year of teaching in ICS.

The plans include assistance to the Ministry of Education and Science in improving the educational process (the discussion of a new concept in social science was mentioned), as well as improving programs for higher education.

I really looked forward to continuing the educational theme, but, alas, it did not follow. There are much more questions in education that relate to RIO than there are answers. But the information I was interested in was not voiced. I will try to list the questions to which I hoped to receive answers, but did not hear.

Question about ICS. It was touched upon in A. O. Chubaryan's speech, but his sparse coverage only gave rise to new questions. There are many problems with the IKS in national history. A significant, I would say, overwhelming, part of the practicing teachers consider the ICS in history to be heavily overloaded and unrealizable in teaching. This, in my opinion, is happening because the compilation of IQS is primarily done by historians, and teachers, methodologists, teachers, i.e. those who should implement it, as a rule, are either on the sidelines or are completely relegated to side. Nevertheless, it is important to understand one psychological point. The fact is that historians go in their work “from the particular to the general”, restoring a complete picture of a historical period or phenomenon from the details. For them, particulars are extremely important, it is extremely difficult for them to refuse them, and the teacher goes in his work from the already existing general picture, which he must form in the minds of his students. Particulars for him are not so important and essential. And where the historian writes down ten particulars, two or three are enough for the teacher. But the historians have the last word, and this is where the "overload of the standard" comes from. It is necessary to take into account the presence of a regional lobby, for which it is “a matter of honor, valor and heroism” to insert “their own” heroes into the ICC. And for the future, it should be taken into account that the discussion of the ICS in history with a real consideration of the opinions of the teaching community can lead to the recognition of the fact that in its current form it is unrealizable, and it needs to either be significantly reduced (and change programs), or significantly increase the number of teaching hours. history at school. It would be interesting to know in advance the opinion of the RIO on this issue: is it ready to change the format for the development of ICS, or is it ready to come up with an initiative (and consistently achieve its implementation by the Ministry of Education) to increase the number of hours for teaching history? By the way, nothing was said about the problems with the development of the ICS in social science, nor about the colossal problems with the ICS in world history, which initially, as one of the participants in the meeting to discuss them, were simply monstrous. In general, a sad trend has been observed more and more often recently: programs, IKSs and other important documents for the educational sphere are accepted by absolutely not those who will have to implement them in classes and audiences. And this seriously affects the quality and content of documents, and the decisions made on them. Declarations must be supported by practical solutions, but we in the professional community do not have a common point of view on what a system-activity approach to teaching history in practice is and how it should be implemented in specific programs and textbooks. However, more about textbooks below. In addition, in his speech, A. O. Chubaryan said that RIO is going to sum up the results of the first year of teaching in ICS together with the Association of Teachers of History and Social Science, which also raises a reasonable question about what empirical materials and research will form the basis of this discussion . It is desirable to hear the answer to this question not on the opening day of the relevant conference and meeting. I would like to take this opportunity to say that our journal Teaching History at School is ready to publish practice-oriented materials on this topic.

The issue of interaction between RIO and the Association of History Teachers is largely related to the previous issue. At the last, III Congress of the Association, it was planned to create permanent working groups on a number of issues relevant to the teaching community. This, as mentioned above, is the problem of the participation of the professional teaching community in the development of ICS, the problem of control over the development and improvement of KIMs of the Unified State Examination in history, the problem of developing and testing new generation textbooks, and a number of other equally pressing problems. However, the idea of ​​creating working groups was not put into practice. This, in my opinion, deprives both the RIO and the professional community of teachers of the opportunity to interact quickly and take into account the opinion of not only historians, but also practicing teachers and methodologists. However, not a word was given to the problems of RIO interaction with the Association of Teachers of History and Social Science. But it is the teachers who are assigned the difficult function of putting into practice many historical concepts and projects.

So called difficult questions stories. The Institute of World History, together with the GAUGN and the Association of Teachers of History, began to implement a rather powerful project aimed at scientific and methodological study of problematic issues within the framework of the new IKS, which could help teachers in teaching. A number of interesting manuals have been published, developed jointly by historians and methodologists. However, the work on this project made it possible to accumulate experience that revealed not only achievements, but also problems in this area, which relate primarily to the interaction of historians and methodologists within the framework of this project, as well as the circulation of published manuals and options for their wide approbation. In solving these problems, the role of RIO with its capabilities can hardly be overestimated.

One of the most important and most painful issues is the issue of three new lines of history textbooks being developed and published by the Prosveshchenie, Drofa, and Russkoe Slovo publishing houses. Looking through the materials for the general meeting of the Russian Historical Society received before the meeting, I read a phrase that interested me very much: “Following the results of testing new textbooks at school, the Rio Commission decided to recommend a line of textbooks edited by Academician A. V. Torkunov (i.e., a line of textbooks Prosveshcheniye Publishing House) as a RIO textbook. Taking into account the fact that the textbook "Enlightenment" (as well as the textbooks of two other publishers admitted to the publication of history textbooks) has been repeatedly criticized by the professional community, which is quite understandable and understandable, and the approbation and its criteria and format remained unknown to most of the professional community, I would like to know in more detail, on the basis of what RIO chose the textbook edited by A. V. Torkunov, who is the co-chairman of the Russian Historical Society? An important and relevant question is when and how the licensing of new lines of textbooks, which are prepared by publishers, will take place. Authors and methodologists have repeatedly raised the issue of giving publishers a longer period of time for development and postponing strict licensing deadlines, but, unfortunately, the problem of textbooks remained outside the scope of the speech, and the format of the meeting did not provide an opportunity to ask questions, let alone arrange a discussion. Inquiries "on the sidelines" only confirmed that the decision of the RIO on the textbook "Enlightenment" was adopted, but the details were not obtained. The problem of textbooks is further complicated by the fact that from a methodological point of view (which, by default or for other reasons unknown to me, is taken out of the scope of the discussion of RIO), they only formally correspond to the principles that are laid down in the new generation of Federal State Educational Standards, and this can seriously reduce their role in solving the problem of modernization of historical education. Form an opinion about what new generation textbook not only in terms of content, but also in terms of methodology, now, in my opinion, is necessary. Since RIO participates in the examination of textbooks, it would also be interesting to know its position and opinion on this issue.

In conclusion, I want to say that, realizing the important role RIO plays in the organization and development of historical and social science education and decision-making within its framework, I would very much like to see new opportunities for a more intensive, and most importantly, productive dialogue between the Russian Historical Society and other members of the professional community.

What is X equal? Reflections of the participant of the meeting of RHS

Abdullaev Enver N. — Chief editor of the journal “Prepodavanie istorii v shkole” (Moscow)

Abdulaev E. N., 2016

Abdulaev Enver Nazhmutinovich— editor-in-chief of the journal Teaching History at School (Moscow); [email protected]

The course of history is considered as a single system for solving educational problems. This author's approach to the study of history provides the student with the opportunity to actively participate in the process of cognition, and allows him to develop interest in the subject being studied. The basis of the approach is a learning task containing an internal contradiction. In the process of solving a learning problem, the student performs a certain algorithm of learning actions, studies the required amount of material. Thus, not only educational, but also developing learning goals are achieved. The main structural elements of the learning process are:
1. Stage of general modeling
To solve thematic educational tasks, preliminary generalization blocks are used as an indicative basis for actions, on which the most important events and phenomena of the period are shown with the help of symbols.

(For more details, see Fomin S.A. Materials for preparing for the exam on the topic "Russia in 1917-1921." // Teaching history at school. - 2007. - No. 10 - P. 50)

 Another possible kind of model is an image
(drawing of the Molotov-Ribbentrop pact)

(For more details, see Abdulaev E.N., Morozov A.Yu. World War II in the school history course // Teaching history at school. - 2009. - No. 7 - P. 15)

2. Search for contradictions in content or search for intrigue
These can be external (comparison of two topics) or internal contradictions (as an example, we can cite a lesson on the topic "Russia between East and West"). Formulation of the problem (task): why were the fragmented Russian principalities and lands able to repulse the West and submit to the East?

Title: EGE. Workshop on history. Preparation for implementation 2(B).

The history workshop is focused on preparing secondary school students for the successful passing of the Unified State Exam.
The book contains a detailed analysis of all types of tasks in Part 2 (B), more than 120 level B test tasks for practicing each type of task on the material of the entire school course in the history of Russia, as well as answers to all tasks.
The workshop is focused on classes during the academic year, however, if necessary, it will allow, as soon as possible, just a few days before the exam, to identify gaps in the student's knowledge and work out those tasks in which the most mistakes are made.
The book is intended for history teachers, parents, tutors, and secondary school students.

The easiest way to get the maximum score in Part 2(B) is to know the correct answer. Part B, unlike part C, does not involve active and large-scale operation of the existing knowledge base, almost does not involve the transformation of factual information into a set of theses or more or less broad historical generalizations. With the possible exception of working with a text fragment, part B can be performed almost mechanically. Indeed, what could be easier than to build a chronological sequence of events of the Northern War if you have a good idea of ​​its stages both on land and at sea?! You just need to know, that's all! But what if you do not have the knowledge to answer the question? Or is there, but they are not enough? However, if the student does not have the necessary information, this does not mean that he does not know anything at all. He probably has some other information, some other knowledge on some other period. This is what should be guided by when completing the tasks of part B of the unified exam: we do not know the correct answer, but we try to deduce it, drawing on other knowledge that we have.
We proceed from the following premise: the student has some knowledge of the subject. Perhaps, episodic and scattered, received not in the lessons, but as a result of Internet surfing, on forums and in communities. They do not line up in a single picture, they do not form a plot historical canvas, but these units of information can help come to the correct answer. The information can be very different, and the sources of information - the most incredible.

CONTENT
Introduction 4
Analysis of all types of tasks of part 2 (B) 9
Tasks to restore the chronological sequence (Bl, B5, B15) 9
Tasks for determining the characteristic features (facts) of the historical period (phenomenon), three out of six (B2, B6, B9, B12) 15
Tasks for correlating two series of information (ВЗ, В7, BIO, B13) 22
Tasks for the analysis of a historical source / historiographic text (B4, B8, Bll, B14) 30
Tasks for self-study 37
Level B Workout Set 1 37
History of Russia from antiquity to the end of the 16th century. (early 17th century) 37
History of Russia XVII-XVIII centuries 42
Russia in XIX at 46
Russia in the XX - early XXI at 49
Level B Workout Package 2 60
History of Russia from antiquity to the end of the 16th century. (early 17th century) 60
History of Russia XVII-XVIII centuries 65
Russia in XIX at 71
Russia in the XX - early XXI in 76
Answers 84
Level B Workout Package 1 84
Level B Workout Set 2 86
Description of the forms of the Unified State Exam 88
Extract from instructions for filling out forms 88

Free download e-book in a convenient format, watch and read:
Download the USE book. Workshop on history. Preparation for implementation 2(B). Abdulaev E.N., Morozov A.Yu., Puchkov P.A. 2011 - fileskachat.com, fast and free download.

• USE, Practicum in history, Preparation for the implementation of part 2 (B), Abdulaev E.N., Morozov A.Yu., Puchkov P.A., 2011
• OGE, Cartographic workshop on the history of Russia XX-beginning of the XXI century, grades 9-11, Morozov A.Yu., Abdulaev E.N., Sdvizhkov O.V., 2016
• OGE, Cartographic workshop on the history of Russia, XIX-beginning of the XX century, grades 9-11, Morozov A.Yu., Abdulaev E.N., Sdvizhkov O.V., 2015
• OGE, Cartographic workshop on the history of Russia from ancient times to the end of the 18th century, grades 9-11, Morozov A.Yu., Abdulaev E.N., Sdvizhkov O.V., 2016

The issue of teaching cultural history is a complex one. The long lists of names and facts in the corresponding paragraphs of textbooks tell their authors a lot, but tell little new information to students. In this regard, my acquaintance with a textbook on the history of Estonia was very indicative for me: after reading a paragraph on Estonian culture of the late 19th - early 20th centuries, I caught myself thinking that I had not received, as they say, not a single bit of new information - after all, consider as such a dull enumeration of "famous" Estonian composers, artists, writers, etc., whose names did not tell me anything at all!

Isn't the average student in our high school in the same position? For the authors of textbooks, behind the names and monuments they enumerate, there are large-scale cultural phenomena, but for students, there is usually nothing behind them. When an author mentions, let us say, Schiller, then for him behind this name stands the whole world of German romanticism, "Cunning and Love", etc., and he voluntarily or involuntarily proceeds from this. However, for the student, this is just a foreign name, at best purely formally inscribed in the cultural context (i.e., the student stupidly memorizes: “Schiller is a German poet and playwright of the second half of the 18th century, a representative of romanticism” - and this is where it all ends).

What to do? After all, an attempt to acquaint students with all the diversity of world culture is also doomed to failure due to obvious reasons. I will share here my own experience in solving the identified problems.

When studying the history of culture as part of a school course, I proceed from the following guidelines. First, in terms of content, the material on culture is not independent. Culture is a trace of human history in all its diversity, as V.S. Solovyov, "only a reflection, only shadows from the invisible with the eyes." Without and outside of human history, culture does not exist. In this regard, I have a sharply negative attitude towards the separation of an independent subject called the MHK from the history course - it would be better if these watches were returned to historians.

Secondly, cultural monuments often very clearly, succinctly and fully express certain historical trends, model important processes, and reflect social phenomena. Let us recall, for example, Christian churches as images of the world of a medieval person, or the Mausoleum of Halicarnassus as an expressive product of the eclecticism of the Hellenistic civilization. Cultural monuments should play this role in the course of history as well.

Thirdly, if we talk about art, his works are deeply emotional and individual. Therefore, to teach a student to understand why the author “sees it this way” is, in my opinion, to teach him to understand works of art, their beauty and connection with “his” modernity.

Fourthly, the teacher himself, as a rule, is not well versed in all areas of art and culture. For example, your obedient servant understands little in music and architecture, but knows a little about literature and painting. Therefore, in my opinion, when studying culture, it makes sense to concentrate on one or two areas, the trends and patterns of development of which (as well as the connection with the historical context) are clear to the teacher himself and can be explained to students.

Let's turn now to the specifics. In the course of the history of the Ancient World, ancient ruins are often placed on the covers of textbooks, which, unfortunately, sets the perception of antiquity by children as something infinitely far from them, destroyed and residual. However, if the students' energy is turned to search for ancient heritage in the modern world, Greek temples will rise from the ruins in their native city in the form of a local palace of culture or a former estate turned into a museum. This technique in V and VI cells. in the study of cultural issues is one of the most effective.

For example, the first lesson on the history of Ancient Greece can be started by asking students to get textbooks in all subjects from their portfolios - most will have Greek names, and on the first pages we can see portraits of Greek scientists. Students are also interested in comparing modern sports symbols with the images of sports in which the ancient Greeks competed on vases and ceramic dishes.

When studying antiquity, you can give the proactive task “Greece and Rome around us” and offer to find traces of antiquity in the following areas:

• architecture (Greece - a portico, Rome - an arch, the use of concrete, etc.);
• entertainment (Greece - theater, sports);
• science and education (most of the sciences originated in the era of antiquity, the Greek alphabet, Roman numerals);
• names (Greek and Roman),
• geographical names (for example, Sevastopol); and etc.

At the final lesson, a presentation can be made with elements of Greek and Roman culture, which have recognizable analogues in a particular area, in the daily life of students.

When studying the topic “The Religion of the Ancient Greeks”, you can give the task to compare the Greek pantheon with the Egyptian one and find fundamental differences (the ancient Greek gods are anthropomorphic compared to the ancient Egyptian ones and easily line up in a hierarchy), and then ask the students to explain these differences (for reference, you can give the text of the textbook a read , which describes the origin of the Greek and Egyptian gods). The key to the answer is that the Egyptian gods are the personification of the elemental forces of nature, which cannot be built in a strict hierarchical order, and the Greek gods are people endowed with unusual super-qualities, but still amenable to ordering.

According to the author's experience, students who have mastered such methods of work often begin to ask questions about such "slippery" analogies as, for example, ziggurats (or the pyramid of Djoser) and the mausoleum of V.I. Lenin. The teacher must be ready for such a turn.

In the course of the history of the Middle Ages, when studying the culture of the Early Middle Ages, judging by my experience, it makes sense to combine the study of the culture of Western Europe, Byzantium and the Arabs into one topic. Students are first invited to distribute monuments and achievements among three civilizations, and then try to build a tower from the facts of the cultural life of each civilization, where each fact will be a “stone” in this tower. At the same time, “fact-stones” can be of different sizes: the presence of monastic schools in Europe is a “stone” in one cell, and the presence of higher educational institutions in Byzantium is three cells, etc. As a result, culture will be marked with the highest tower Byzantium, the second place will be occupied by the Arab culture, and the last by the culture of Western Europe. So we will draw a line under the results of the historical development of the three civilizations of the Early Middle Ages and complete the study of the section, laying the foundation for the future question: “What allowed the previously lagging Western European civilization to make a powerful breakthrough in development?”

When studying the culture of the High Middle Ages and the Renaissance, it makes sense to compare two pairs of monuments. The first pair are literary works: "The Saga of Roland" (XI-XII centuries) and "The Romance of the Fox" (XIII century), the second - sculptures "Margrave Ekkehard and Countess Uta" (XIII century) and "Slave, tearing the fetters ”(Michelangelo, XVI century). In the first case, I draw the attention of students to the comparison of character traits and value systems of the two main characters of the works. On the one hand, Count Roland, full of noble aspirations and only for the sake of no one thinking anything bad about him, destroying his army, his friends and himself. And on the other - Fox, moderately cynical, cunning city dweller, who does not care about noble aspirations and what they think of him. His ideal is to achieve the goal in any way. In this vivid example, we see a change in the psychology of Europeans, the emergence of a new psychological type, the carriers of which will later go overseas and conquer the whole world for Europe.

Comparing the sculptures, we can visually present to the students the difference between the static culture of the High Middle Ages, focused on external signs and paraphernalia, and the culture of the Renaissance - dynamic, putting people at the forefront, and not coats of arms, flags and titles. Here it is good to use a technique that I call the "magic wand" - to invite students to "revive" a motionless statue (or turn a static picture into a video), and then describe the result. When using this technique in the case of Ekkehard and Uta, the effect of “revival” will be insignificant - the count, perhaps, will grip the sword more tightly, and the countess will wrap her cloak more tightly. In the case of the Slave (about whom we know that he is a slave only by the name of the sculpture, but not by any external attributes), as the students once told me, “it’s better not to stay in the same room with him.”

In general, the “magic wand” is a very effective methodological device; it can be used as a kind of historical reconstruction, working, for example, with a painting by S.V. Ivanov "Christians and Pagans" or V.I. Surikov "Boyar Morozova". But this is a completely different story - domestic, to which we now turn.

Usually paragraphs on the history of culture complete the study of certain periods of Russian history (Old Russian, the time of fragmentation, etc.), and as a result, cultural phenomena are torn off from the historical context. How can this gap be bridged? For example, for the first time acquainting schoolchildren with epics not in a separate “nook” allocated for them by the authors of textbooks (section of the paragraph on the history of the culture of Ancient Russia), but when studying the activities of the great Kyiv princes Svyatoslav Igorevich and his son St. Vladimir. First, the teacher reads out a well-known passage from The Tale of Bygone Years, containing an extremely flattering description of Prince Svyatoslav: “When Svyatoslav grew up and matured, he began to gather many brave warriors, and easily went on campaigns, like a pardus [leopard], and fought a lot. On campaigns, he did not carry carts or cauldrons with him, he did not cook meat, but, thinly slicing horse meat, or animal meat, or beef and roasting it on coals, he ate it like that; he did not have a tent, but he slept, spreading a sweatshirt with a saddle in his head - the same were all his other soldiers. And sent to other lands with the words "I want to go to you." It must be added that such a characterization is confirmed by other historical sources and is generally recognized by historians as fair.

Further, the teacher talks about epics as a form of oral folk art and reports that, surprisingly, not a single “most overwhelming” bylinka has been preserved about Svyatoslav. But his son, Prince Vladimir, is glorified not only on the pages of chronicles, but also in the people's memory, in numerous epics, although he was not at all such a wonderful warrior. Why? And further, studying the relevant sections of the paragraph, schoolchildren independently come to the conclusion that Prince Vladimir's concern for the defense of Russia from the Pecheneg raids and his role in the adoption of Christianity left a grateful memory.

The features of a particular historical period can be understood through various cultural monuments (and not only the period itself, but also later ones). For example, an ancient Russian person found himself at a break between the pagan past and the Christian future of his country (a bright marker for designating this situation is ambiguity). You can understand the transitional nature of the era through encolpion crosses decorated with pagan symbols, images of buffoons condemned by priests on the walls of St. Sophia Cathedral in Kyiv, an annalistic story about the funeral of Prince Vladimir (they bury the prince who baptized Russia, but with observance of the pagan prohibition to take out the body of the deceased through the door). You can use the already mentioned painting by S.V. Ivanov “Christians and Pagans” is a direct illustration to the story “The Tale of Bygone Years” about the appearance of a pagan sorcerer in Novgorod decades after baptism, when he surprisingly easily managed to return many people to the old faith for a while (“and the people were divided in two: Prince Gleb and his squad went and stood near the bishop, and the people all went to the sorcerer. And you can also remember such a - seemingly purely artistic - work as "The Song of the Prophetic Oleg" by A.S. Pushkin. The genius poet was able to understand and convey to us the spirit of the era here. Prince Oleg meets with the sorcerer, he predicts his death from a horse, and ...

Oleg chuckled. however, the forehead
And the eyes were darkened by the thought
In silence, hand leaning on the saddle,
He gets down from his horse sullen;
And a true friend with a farewell hand
And strokes and pats on the neck steep.

The prince both believes and does not believe the predictor. 100 years before that, there could be no room for doubt, because the sorcerer is the “favorite of the gods”! However, Oleg, although a pagan, is a man of a different time. He fought a lot, visited other countries, got acquainted with the customs and faith of different peoples. Oleg doubts, but the habit of believing "wizards" still prevails. 150 years after Oleg, Prince Gleb, cracking down on a pagan sorcerer, will no longer have doubts - which cannot be said about ordinary people.

So for each era, you can select monuments that reveal its fundamental features (and not “drive” these monuments into a separate paragraph, only formally connected with the historical narrative). Some useful materials have already been published in our journal - for example, changes in the XIV-XVI centuries. in the iconography of St. Boris and Gleb from martyrs to soldiers ready for battle, and from them to St. George the Victorious, striking the enemy (illustrative materials on this topic with a lengthy commentary were published in No. 4, 2008 on a color insert). For the 16th century indicative may be the study of St. Basil's Cathedral, for the XVII century. a meaningful abstraction reflecting the spirit of the times is the parsuna, etc.

It is important to form the idea among schoolchildren that works of culture may not be too accurate in details (or even directly contradict historical facts), but at the same time, it is surprisingly visible and vividly convey the spirit of the times, the intensity of passions, the worldview and worldview of people of the past. This, in my opinion, is the enduring value for a history teacher of truly outstanding creations dedicated to the past, but created many years and even centuries after the events depicted in them. As an example, consider the well-known painting by V.I. Surikov "Boyar Morozova". It has a solid historical basis: in The Tale of the Boyar Morozova it is said that when the sleigh with the disgraced noblewoman came abreast of the Chudov Monastery, Morozova raised her right hand and, “clearly depicting the addition of the fingers [Old Believer two-fingered], lifting high, often enclosing herself with a cross, the skull is also often ringing. It was this scene that the painter chose, but changed some details. So, the iron collar worn on the noblewoman and attached to the “chair” (a block of wood lying on the logs and embarrassing the noblewoman) with a chain was replaced by Surikov with shackles of the 19th century. It is even more significant that the "Tale ..." tells us nothing about the audience of this scene, who, most likely, in real historical reality, were dispersed by the archers (they have nothing to listen to the agitation of an important state criminal!), And the noblewoman's gesture was addressed only to the tsar (on that the literary source directly indicates).

Two years before Surikov, another Wanderer, little known today A.D. Litovchenko, exhibited a large canvas, the plot of which is also the arrest of the noblewoman Morozova (the painting is now stored in the Novgorod Art Museum). Litovchenko's somnambulistic guards carry the boyar Morozova out of the beautiful chambers on a chair, just as they carry out a paralyzed man. The right hand of the noblewoman shows two fingers. It cannot be said that Litovchenko's work is ahistorical: he depicted the noblewoman Morozova at the moment when she, complaining about the pain in her legs, refused to follow the royal torture, and then the guards forcibly carried the stubborn schismatic into the Kremlin chambers. However, the frantic spirit of the split is not reflected in Litovchenko's canvas, and in this sense, his picture is uninteresting and not self-sufficient - it can only be considered in the context of Surikov's canvas, which has become one of the symbols of the "rebellious age".

In high school, a possible option for studying culture is the task given to students in advance (about a month in advance) to prepare short speeches or presentations on the developmental features of those areas of culture that are close to each other during the period under study. to them personally(theater, ballet, painting, sports, etc.). In class, some presentations are heard, others are submitted as written work. The task of the student is not just to tell about what, for example, painters lived and worked in the time being studied (such a descriptive approach should be persistently fought), but to show how they reflected (and expressed in their work) the dominant trends in the spiritual world. the life of society. The reference here can be the "Chronicle of Cultural Life" compiled by the teacher himself, listing the main events that need further interpretation.

And finally, an important note. According to my observations, the authors of textbooks, when writing paragraphs on the history of culture, are most afraid of forgetting something, not mentioning some significant figure or monument. A considerable part of teachers, especially beginners, suffer from the same thing - they want to “fully” load the children. But we must always remember the wonderful aphorism of Kozma Prutkov - "You can not embrace the immensity." And the culture of mankind is immense. So let's set ourselves a more modest and realistic task - to try to understand the past through some works, to identify certain development trends. Otherwise, children will not receive food for thought, but only material for solving crossword puzzles.

Keywords: spiritual life, culture, educational activities.

keywords: sentiment, culture, educational activity.