The image of a doctor in Russian literature. Doctors in Russian classical literature

The image of a doctor in Russian literature is a topic little touched upon in literary criticism, but its significance for culture is very great. The motives of illness and healing, in literal and symbolic meanings, permeate folklore, religion, and any form of art in every nation, since they “permeate” life itself. Literature provides an aesthetic, not everyday, but deeply vital slice of life, so here we are not talking about professional information itself, here they do not learn any craft, but only understanding, vision of the world: every profession has its own, special angle of view. And we can talk specifically about the artistic, including semantic, significance of the depicted case. The task of the history of medicine is to show how the appearance of a doctor and his professional qualities are changing. Literature will touch on this indirectly, only to the extent that it reflects life: what the artist sees in the medical field and what aspects of life are open to the doctor’s eyes.

Literature is also a kind of medicine - spiritual. Poetry has come a long way from, perhaps, the first appeals of words to the work of healing: in their own way, poetic incantations and spells were designed for genuine healing from ailments. Now such a goal is seen only in symbolic meaning: “Each verse of mine heals the soul of the beast” (S. Yesenin). Therefore, in classical literature we focus on the hero-doctor, and not the author-doctor (shaman, healer, etc.). And in order to comprehend our topic, its antiquity, which goes back in different variations to the pre-literate word, should lead to some caution in the analysis. One should not be deluded by easy and decisive generalizations, such as the fact that it is writers who speak about medicine who are doctors, because in general, almost every classic novel has at least an episodic figure of a doctor. On the other hand, the perspective of the topic suggests non-traditional interpretations of familiar works.

How convenient it would be to focus only on A.P. Chekhov!.. To use the famous aphorism about the “medicine wife” and “literature-mistress”... The word “for the first time”, so beloved by literary scholars, could also appear here: for the first time in Chekhov’s literature, literature fully reflected the appearance of a domestic physician, his asceticism, his tragedy etc. Then Veresaev and Bulgakov came. Indeed, it was as if, thanks to Chekhov, literature looked at life through the eyes of a doctor, and not a patient. But there were doctors-writers before Chekhov, and it would be more accurate to say: it’s not about the author’s biography; V XIX literature century, a rapprochement with medicine was prepared. Is this why literature cried out too loudly to doctors, constantly complaining about hemorrhoids, catarrhs, or “windy pimples”? Not joking, it is clear that no profession has been perceived as meaningfully as the position of a physician. Was it really important whether the hero of literature was a count or a prince, an artilleryman or an infantryman, a chemist or a botanist, an official or even a teacher? A doctor is a different matter; such an image-profession is always not only meaningful, but symbolic. In one of his letters, Chekhov said that “he cannot come to terms with such professions as prisoners, officers, priests” (8, 11, 193). But there are specialties that the writer recognizes as a “genre” (Chekhov’s expression), and it is the doctor who always carries such a genre, i.e. increased semantic load, even when it appears fleetingly in a work, in a short episode, in one line. For example, in Pushkin’s “Eugene Onegin” it is enough to appear in the lines “everyone is sending Onegin to the doctors, They in chorus send him to the waters,” and the flavor of the genre is obvious. Just as in “Dubrovsky,” where only once will one encounter a “doctor, fortunately not a complete ignoramus”: the profession of Deforge’s “teacher” hardly carries a semantic emphasis, while the physician clearly contains the intonation of the author, who, as is known, in his time "ran away from Aesculapius, thin, shaved, but alive." Deeply symbolic of the image of the doctor in Gogol - from the charlatan Christian Gibner ("The Inspector General") to the "Grand Inquisitor" in "Notes of a Madman." Werner is important to Lermontov precisely as a doctor. Tolstoy will show how a surgeon, after an operation, kisses a wounded patient on the lips (“War and Peace”), and behind all this there is the unconditional presence of a symbolic coloring of the profession: the doctor’s position is close to the foundations and essences of existence: birth, life, suffering, compassion, decline , resurrection, torment and torment, and finally, death itself (Cf.: “I am convinced of only one thing... That... one fine morning I will die” - the words of Werner from “A Hero of Our Time”). These motives, of course, capture the personality of everyone, but it is in the doctor that they are concentrated as something for granted, as fate. This is why, by the way, a bad or false doctor is perceived so sharply: he is a charlatan of existence itself, and not just of his profession. The perception of medicine as a purely physical matter in Russian literature also has a negative connotation. Turgenev's Bazarov only on the threshold of his death realizes that man is involved in the struggle of spiritual entities: “She denies you, and that’s it!” - he will say about death as acting person a life drama, not a medical fatality. The symbolism of the doctor is directly related to the Orthodox spirituality of Russian literature. The doctor in the highest sense is Christ, driving out the most ferocious ailments with his Word, moreover, conquering death. Among the parable images of Christ - shepherd, builder, groom, teacher, etc. - a doctor is also noted: “It is not the healthy who need a doctor, but the sick” (Matthew, 9, 12). It is precisely this context that gives rise to extreme demands on the “aesculapian”, and therefore even Chekhov’s attitude towards the doctor is harsh and critical: someone who only knows how to draw blood and treat all diseases with soda is too far from the Christian path, if he does not become hostile to it (cf. Gogol : Christian Gibner - the death of Christ), but even the capabilities of the most capable doctor cannot compare with the miracle of Christ.

A.P. Chekhov, of course, will be at the center of our topic, but it is impossible not to note several authors who preceded him, at least who gave doctors in Russian literature as the leading characters of their works. And these will be Doctor Krupov from Herzen’s works and Turgenev’s Bazarov. Of course, Dr. Werner from A Hero of Our Time meant a lot. So, already before Chekhov, a certain tradition arose, so some seemingly purely Chekhovian discoveries will most likely turn out to be unconscious, but variations of his predecessors. For example, it would be typical for Chekhov to show the hero’s choice of one of two paths: either a doctor or a priest (“Belated Flowers,” “Ward No. 6,” letters), but this motif will already be found in Herzen; Chekhov's hero has long conversations with a mentally ill person - and this is also the motive of Herzen's "Damaged"; Chekhov will talk about getting used to the pain of others - Herzen will also say the same thing (“It’s hard to surprise our brother... From a young age we get used to death, our nerves get stronger, they become dull in hospitals,” 1, I, 496, “Doctor, dying and the dead"). In a word, the favorite “for the first time” must be used with caution, and so far we have only touched upon the particulars as an example, and not the perception of the medical field itself.

Lermontov's Werner, in turn, was clearly a reference point for Herzen. A number of scenes in the novel "Who is to Blame?" generally have something in common with “Hero of Our Time,” but we note that it is Herzen, perhaps due to his biography (cruel illnesses and death in his family), who is especially attached to the image of a doctor (see: “Who is to blame?”, “Doctor Krupov” , "Aphorismata", - associated with the common hero Semyon Krupov, then "For the sake of boredom", "Damaged", "Doctor, the Dying and the Dead" - i.e. all the main works of art, except for "The Thieving Magpie"). And yet, everywhere there is a strong presence of just an episodic Lermontov doctor: a gloomy and ironic state, the constant presence of death in thoughts, aversion to everyday worries and even to family, a feeling of being chosen and superior among people, tense and impenetrable inner world, finally, Werner’s black clothes, which deliberately “get worse” in Herzen: his hero is dressed in “two black frock coats: one all buttoned up, the other all unbuttoned” (1, 8, 448). Let us recall Werner’s condensed summary: “he is a skeptic and a materialist, like almost all doctors, and at the same time a poet, and in earnest - a poet in practice always and often in words, although he never wrote two poems in his life. He studied everything the living strings of the human heart, as they study the veins of a corpse, but he never knew how to use his knowledge... Werner secretly mocked his patients; but... he cried over the dying soldier... the irregularities of his skull would strike a phrenologist with a strange interweaving of opposites. inclinations. His small black eyes, always restless, tried to penetrate your thoughts... The youth nicknamed him Mephistopheles... it (nickname - A.A.) flattered his pride" (6, 74). As is customary in Pechorin’s journal, Werner only confirms this characterization. Moreover, his character is the imprint of his profession, as can be seen from the text, and not just a play of nature. Let’s add or highlight the inability to use the knowledge of life, unsettled personal destinies, which is emphasized by the doctor’s usual familylessness (“I’m incapable of this,” Werner), but often does not exclude the ability to deeply influence women. In a word, there is some demonism in the doctor, but also hidden humanity, and even naivety in anticipation of good (this can be seen with Werner’s participation in the duel). Spiritual development makes Werner have a condescending attitude towards both the sick person and the possibilities of medicine: a person exaggerates suffering, and medicine gets off with simple means like sour-sulfur baths, or even promises that he will heal before the wedding (this is how one can understand from Werner's advice).

Herzen generally develops Werner’s character, his “genesis”. If Chekhov’s doctor Ragin from “Ward No. 6” wanted to be a priest, but due to the influence of his father, as if involuntarily, he became a doctor, then for Krupov, the choice of the medical field is not coercion, but a passionate dream: born into the family of a deacon, he had to become a minister of the church , but wins - and in spite of his father - a vague but powerful attraction to initially mysterious medicine, that is, as we understand, the desire for real humanity, embodied mercy and healing of one's neighbor wins in a spiritually excited person. But the origin of character is not accidental: religious spiritual heights move onto a real path, and it is expected that it is medicine that will satisfy spiritual quests, and in dreams it may turn out to be the material reverse side of religion. Not the least role here is played by the unsightly, according to Herzen, church environment, which repels the hero; here people “are struck by an excess of flesh, so that they rather resemble the image and likeness of pancakes than the Lord God” (1, I, 361). However, real medicine, not in the dreams of a young man, influences Krupov in its own way: in the medical field, the “behind-the-scenes side of life”, hidden from many, is revealed to him; Krupov is shocked by the revealed pathology of man and even of existence itself; youthful faith in the beauty of natural man is replaced by a vision of illness in everything; the morbidity of consciousness is especially acutely experienced. Again, as will later be in the spirit of Chekhov, Krupov spends everything, even holiday time, in a mental hospital, and a disgust for life matures in him. Let’s compare Pushkin’s: the famous precept “morality is in the nature of things,” i.e. a person is by nature moral, reasonable, and beautiful. For Krupov, man is not “homo sapiens”, but “homo insanus” (8.435) or “homo ferus” (1.177): a mad man and a wild man. And yet, Krupov speaks more definitely than Werner about love for this “sick” person: “I love children, and I love people in general” (1, I, 240). Krupov, not only in his profession, but also in his everyday life, strives to heal people, and in Herzen this motive is close to his own pathos as a revolutionary-minded publicist: to heal a sick society. In the story “Doctor Krupov,” Herzen with an obsessive pretension presents the essentially shallow and not even witty “ideas” of Krupov, who views the whole world, all history as madness, and the origins of the madness of history are in the always sick human consciousness: for Krupov there is no healthy human brain , just as there is no pure mathematical pendulum in nature (1, 8, 434).

Such a “flight” of Krupov’s mournful thought in this story seems unexpected for readers of the novel “Who is to Blame?”, where the doctor is shown, in any case, outside of world-historical generalizations, which seemed more artistically correct. There, Herzen showed that in a provincial environment, Krupov turns into a resonating man in the street: “the inspector (Krupov - A.A.) was a man who had become lazy in provincial life, but nevertheless a man” (1, 1, 144). In later works, the image of the doctor begins to claim something grandiose. Thus, Herzen sees the ideal vocation of a doctor as unusually broad. But... broadly in concept, not in artistic embodiment, in the outline of a grand scheme, not a physician's philosophy. Here the pretensions of the revolutionary take precedence over the capabilities of the artist in Herzen. The writer is primarily concerned with the “disease” of society, which is why Krupov is already in the novel “Who is to Blame?” He doesn’t so much heal as he thinks about everyday things and arranges the fates of the Krutsiferskys, Beltov and others. His purely medical skills are given at a distance, they are “told” about them, but they are not “shown”. Thus, the capacious phrase that Krupov “belongs to his patients all day long” (1, 1, 176) remains only a phrase for a novel, although, of course, Herzen’s doctor is not only not a charlatan, but the most sincere a devotee of his work - a work, however, located in the shadow of an artistic plan. What is important to Herzen is precisely the humanity and worldview in a doctor: without being a charlatan, his hero must reflect Herzen’s understanding of the influence of medicine on the doctor’s personality. For example, in the episode when Krupov neglected the demands of an arrogant nobleman, did not immediately respond to his capricious call, but ended up delivering a child to the cook, the social rather than the actual medical perspective is much more significant.

And here Herzen, in the story “For the Sake of Boredom,” speaks of “patrocracy,” i.e. about the utopian management of the affairs of society by none other than doctors, ironically calling them “the general staff archiarchs of the medical empire.” And, despite the irony, this is a completely “serious” utopia - a “state of doctors” - after all, the hero of the story rejects irony: “Laugh as much as you want... But the coming of the kingdom of medicine is far away, and we have to treat continuously” (1, 8, 459). The hero of the story is not just a doctor, but a socialist, a humanist by conviction (“I am by profession for treatment, not murder” 1, 8, 449), as if brought up on the journalism of Herzen himself. As we see, literature persistently wants the doctor to take up a broader field: he is a potentially wise ruler of this world, he contains dreams of an earthly god or a benevolent king-father of this world. However, the utopianism of this character in the story “Boredom for the Sake” is obvious, although for the author it is very light. The hero, on the one hand, often finds himself at a dead end in the face of ordinary everyday vicissitudes, on the other hand, he treats the idea of the “medical kingdom” with bitterness: “If people actually begin to correct themselves, the moralists will be the first to be left in the fool, then who will be corrected?” (1, 8.469). And Titus Leviathansky from “Aphorismata” even hopefully objects to Krupov in the sense that madness will not disappear, will never be cured, and the story ends with a hymn to “the great and patronizing madness” (1, 8, 438)... So, the doctor remains eternal a reasoner, and his practice itself gives him a quick series of observations and - caustic, ironic "recipes".

Finally, let us touch upon the last feature of Herzen’s hero-doctor in this case. The doctor, even if utopian, lays claim to many things; he is a universe (“a real doctor must be a cook, a confessor, and a judge,” 1, 8, 453), and he does not need religion, he is emphatically anti-religious. The idea of the kingdom of God is his spiritual rival, and he disparages both the church and religion in every possible way (“The so-called light, about which, in my studies in the autopsy room, I least of all had the opportunity to make any observations,” 1, 8, 434 ). The point is not at all in the notorious materialism of the doctor’s consciousness: with his field he wants to replace all authorities with the most good purpose; "Patrocracy" - in one word. In “Damaged,” the hero is already talking about the future overcoming of death (this closest rival for the doctor) precisely thanks to medicine (“people will be treated for death,” 1, I, 461). True, the utopian side of Herzen is everywhere associated with self-irony, but this is rather coquetry next to what seems to be such a bold idea. In a word, here too, with the invasion of the motive of immortality into medicine, Herzen predetermined a lot in the heroic doctors of Chekhov and in Turgenev’s Bazarov, to whom we will now move on: the doctor Bazarov will be spiritually broken in the fight against death; Dr. Ragin will turn away from medicine and from life in general, since immortality is unattainable.

In the works of Soviet literature, the image of a doctor is revealed mainly through his attitude to work and the patient, through the conflict between the innovator and tradition, teacher and student, between those who strive to save a person at any cost, to help the patient, and people who use medicine as a means of achieving material well-being. Magnificent images of selfless doctors, dedicated to their work, doctors by vocation were created by Yu. German, V. Kaverin, A. Korneychuk, Yuliy Krelin, V. Aksenov, A. Koptyaeva,…. Their works are well known, many have been filmed.
Soviet literature of the 50-60s very often idealized doctors, which caused objections among the doctors themselves. They called on writers and journalists to write more about the everyday side of the work of doctors, and not just about noble and heroic deeds.
Idealization is now giving way to a more complex approach. Let us explain this using the example of Y. Krelin’s story “The Surgeon”. Its hero is surgeon Mishkin. At work he is respected for his humanity and genuine intelligence. He is the conscience of the team. Mishkin is valued for his high professionalism. “All surgery in the region relies on him,” says the chief doctor. Mishkin is reliable and absolutely selfless, alien to any vanity. Despite everyday unsettled conditions, he is happy. His goal is to heal and save people. Work for him is the main need of life. And yet, doctor Mishkin is not a diagram, but a living person, with whom the author does not always agree... Thus, the author does not hide the fact that the thinking of his hero is limited by the framework of practical surgery. He does not attach much importance to theory and does not strive to complete the research he has begun.
An interesting image is painted in the story “The Verdict” by Vladimir Soloukhin. Academician B.P. Petrov is a scientist of the old school, a great surgeon, a deeply intelligent person. The author admires Petrov’s sensitivity and his ability to support the patient. The writer notes that many of the doctors he encountered did not have the patience to question the patient in detail. He associates this with the problem of delayed diagnosis. Not all of the writer’s judgments are indisputable, as was mentioned during the discussion of his work by the medical community, but they are interesting. For example, a conversation about negative emotions that constantly depress a person, or “time pressure,” even short-term, but detrimental to health, deserves attention. Observations by V.A. Soloukhin largely coincides with the thoughts of other writers.
I would also like to draw attention to the notes of the surgeon Fyodor Uglov “Under the White Robe.” This is not work of art. The author talks about representatives of Soviet medicine V.P. Demikhove, V.K. Kalzine, A.A. Smorodintsev, I.M. Velikanov, M.P. Chumakov, V.N. Shamove, S.T. Zatsepina and others. The main idea of the notes is the affirmation of the ideal of a doctor-creator, a revolutionary in science, a selfless fighter for human health and harsh criticism the so-called “business style”, administration, careerism. F. Uglov focuses on the problem of health care management personnel, on whom the improvement of health care services for the population in our country largely depends. He also talks about the state of surgery abroad, in particular about the prevention of surgical diseases. Written passionately and truthfully, Uglov’s notes are consonant with V.V.’s “Calling.” Kovanov and prose by V.A. Soloukhina. The works of this series include books by N.M. Amosov “Thoughts and Heart”, “Book of Happiness and Misfortune”, revealing the inner world of a major medical scientist.
Images of doctors are also depicted in works fine arts in the form of portraits of prominent and many unknown physicians. They were written by Rembrandt, F. Hals, Holbein, Veronese, El Greco, Goya, David, I.E. Repin, Van Gogh, M.V. Nesterov, etc. Thanks to this, the names of many famous and little-known doctors, as well as their appearance in various historical periods, have been preserved. Images of doctors are also revealed in canvases on the theme “Doctor and Patient”, painted by such Dutch artists as J. Steen, G. Low, Andrian van Ostade, G. Terborch, Pieter de Goch and others, who left us genre scenes from life doctors. Their usual characters are a patient and a doctor in an office set with the attributes of healing. As a rule, the doctor feels the patient's pulse or examines a bottle of urine. IN best works This series reveals the relationship between the patient and the doctor. Many Russian painters dedicated their paintings to this topic. Their paintings give a visible idea of the working conditions of doctors and the features of health care in peacetime and on the battlefield.
In the books of E.I. Lichtenstein’s “Manual on Medical Deontology” (Kyiv, 1974) and “Remembering the Sick” (Kyiv, 1978) the problems of medical deontology are considered based on the works of L.N. Tolstoy, G. Flaubert, A.P. Chekhov, O. Henry, S. Maugham and other classics of Russian and foreign literature. The author notes that in the development of medical deontology as a science, classical art played a large and not yet fully realized and appreciated role.
In Soviet literature, problems of medical deontology are attracting increasing attention. V.A. Soloukhin addresses such a phenomenon as patronage treatment. V.M. Shukshin (“Snake Venom”), Yu. Krelin, Victoria Tokareva (“Bad Mood”) are outraged by the manifestations of bureaucracy, indifference, and rudeness on the part of some doctors, mid-level and junior medical personnel. The notorious problem of “gifts” also received coverage in periodicals. An analysis of these publications shows that Soviet writers expanded the traditional understanding of the scope of ethical and deontological problems of medicine, including the attitude of support staff towards the patient - receptionists, wardrobe workers, etc. It turns out that not only theater begins with a hanger...
Yu. Krelin, N.M. talk about relationships within medical teams. Amo-sov, F. G. Uglov, V.V. Kovanov, N.V. Elshtein. I.A. Shamov, L.D. Khundanov, An. Sofronov. It is interesting to compare their thoughts with the judgments of, for example, Rene Lerischa (“Memories of my past life”), M.L. Gross (“Doctors”) and Madeleine Riffault (“The Hospital as It Is”)

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Conclusion of the dissertation on the topic “Philosophy and history of religion, philosophical anthropology, philosophy of culture”, Kovelina, Tatyana Afanasyevna

These are the main conclusions that we came to as a result of this research work. However, this does not mean the end of the study of the image of the doctor in culture. The uniqueness, versatility and inexhaustibility of the image leave the researcher a huge scientific field for its study. Thus, it would be interesting to consider the image of a doctor in information culture or in everyday culture; study the image of a doctor as a sociocultural archetype of the Eastern and Western European traditions; present the image of a doctor through linguistic forms, through the study of clinical thinking and medical sociolect, etc. The author hopes that through the collective efforts of philosophers, cultural scientists, linguists, ethicists, historians, such research will bring not only theoretical, but also specific practical results, which will allow us to overcome the current crisis of relations in medicine and culture in general.

CONCLUSION

The image of the doctor is historical. Being the result specific culture, I he appears as her “mirror”, reflecting goals, values, ideals, ups and crises. The objectivity of the doctor’s image is explained by the objectivity of cultural dynamics and professional activity. A doctor is not only the ability and opportunity to perform certain professional work, but also a personality quality that is assigned to a person who evaluates his profession as a vocation. The content of the image of a doctor in culture is a complex conglomerate of feelings, experiences, ideas, principles and attitudes. The forms of medical consciousness identified in the work: professional, moral and legal, economic and political are conditional, which is explained by the purpose of the study. In real, concrete existence, they form the unity and integrity of the doctor’s personality. The subjectivity of the image refers to its form and is associated with personal ideas about the medical profession and its assessments. In this regard, the image of a doctor is inexhaustible and unique, as evidenced by the works of art and literature dedicated to him.

The essential features and qualities of a doctor, in comparison with other professionals, is value consciousness, embodied in activity, behavior, language, communication, in relation to things, society, and the world. The value consciousness of a doctor is a special form of reflection of the world, determined by the specifics and direction of his professional activity, its goals and values. Traditionally, they were determined by the objectives of medicine - maintaining health, getting rid of disease and prolonging life. The value of human life and health must remain paramount in the medical profession, even despite the changing purpose of modern medicine, embraced by the process of liberalization. Liberal ideas that cultivate individualism and pragmatism transform medicine and the medical profession into a social institution that should serve a person as a factor in achieving well-being. The uncertainty of this goal causes an inversion of values in the mass and medical consciousness. The image of a doctor is seen as a servant of two masters - LIFE and DEATH, which is especially dangerous in conditions of spiritual degradation. There can be only one way out - in the affirmation of a truly humanistic ideology, which aims society at understanding the value of life, and the doctor at preserving his historical mission - to be its defender.

The professional culture of a doctor, existing in three forms of objectivity - material, spiritual and artistic, determines the moral, legal, economic, political and other cultures, the carriers and creators of which are the doctor. It is normative, institutional, stable, relatively closed, and at the same time, intersubjective, historical, dynamic, variable, open to the new and different. Its foundation is medical professional activity, its core is medical thinking. With its focus on the future, professional medical culture forms the ideal (proper) image of a doctor, and the connection with past cultural experience allows us to preserve its best features, and, consequently, the archetype of the image of a doctor that has developed in the domestic ethnocultural tradition.

The moral and legal culture of a doctor is a subsystem of the doctor’s personality culture, which is formed on the basis of the medical profession and includes ideas, attitudes, ideas about morality and law, moral feelings and legal consciousness, which reflect the versatility of the doctor’s relationship with the world around him, as well as system of ethical and legal knowledge. It expresses unity and contradiction moral obligations and legal duties, assessment (moral and legal) of the legality of actions and actions, ideas about the correct (normative) behavior of a doctor, and also reflects the qualitative state of the medical profession. Therefore, the image of a doctor, born in a moral and legal culture, can be defined as an expression of the “image” of the entire medical professional community. In the personality of a doctor, the general social and cultural characteristics of the profession find an individually unique expression. The bright personal individuality of a doctor is most clearly revealed in behavior and actions. It is the act committed by a doctor in the profession or in everyday life that is an indicator of his moral and legal maturity as an individual. At the same time, the act was determined by the requirements of medical duty, which has both a moral and legal aspect. The contradictions between them cause complex existential experiences, lead to a doctor’s reassessment of his own profession, and a rejection of traditional medical values. Therefore, the ideal image of a doctor is possible subject to the unity of the foundations of morality and law. The filling of the medical profession with deep moral and legal content determines the sociocultural aspects of its economic and political life.

The economic life of a doctor is the most important factor and condition for the formation of his economic consciousness and economic culture. Economic consciousness, reflecting the economic life of a given social subject, is objectified in its economic activity, in the manifestation of efficiency and economic entrepreneurship. A feature of the economic image of a doctor is precisely that he has a fairly high level of economic consciousness, which is due to his scientific training in the field of general economics and health economics. A high level of economic consciousness allows doctors to understand and evaluate the effectiveness of the economic reforms taking place in society, as well as to develop those personality qualities that will be most in demand in market conditions of life: efficiency, knowledge of the legal and financial foundations of a market economy, initiative, independence in decision-making, entrepreneurship . But at the same time, in the culture of the market, also are formed. such features in the image of a doctor that may conflict with the moral requirements of the profession: orientation towards career growth, which is associated with the desire to be in “great demand” in the medical services market, possession of material values, which generates interest in a larger number of patients as a source of profit. At the same time, feelings of honor, collectivism, corporate ethics, selflessness, and mercy are lost. The way out of the existing contradiction between the economic and moral in the image of a doctor is seen in the humanization of culture and medical activity, which is possible under the condition of an appropriate humanistic ideology. With this ideology we associate the creation of a new model of medicine and ideal image doctor In our opinion, neither the ideology of Eurasianism, nor the ideology of liberalism or conservative liberalism is capable of becoming a condition for a “reverent” understanding of the essence of Life and Man and for the revival of the Hippocratic model of a doctor, which is based on the principle of mercy and philanthropy. However, humanistic ideology and the image of the Hippocratic doctor are the ideals to which culture strives. In the actual political image of a modern Russian doctor we find a reflection of real political reality. This is clearly manifested in the mental modes of character of doctors, which reflect their attitude towards the state: tolerance, statism, political apathy, supported by political lack of rights, and at the same time, courage, dedication, active patriotism, lack of negativism towards state policy.

The artistic image of a doctor is a special form of existence of professional medical culture, in which the typical features inherent in a given medical group and the individual characteristics of a particular hero are intertwined in a single alloy; objective content, coming from reality, and subjective, manifestation of the artist’s personal traits. Value artistic images doctors is that they represent a conglomerate of feelings and experiences and correlate with images of the people’s world, with the image of culture itself.

List of references for dissertation research Doctor of Philosophy Kovelina, Tatyana Afanasyevna, 2006

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Image medical worker in Russian literature

“The medical profession is a feat. It requires dedication, purity of soul and purity of thoughts.”

A. P. Chekhov

medical worker doctor profession

The symbolism of a medical worker is directly related to the Orthodox spirituality of Russian literature. The doctor in the highest sense is Christ, driving out the most ferocious ailments with his Word, moreover, conquering death. Among the parable images of Christ - the shepherd, the builder, the groom, the teacher - the doctor is also noted: “It is not the healthy who need a doctor, but the sick” (Matthew, 9, 12). It is precisely this context that gives rise to extreme demands on the “aesculapian”, and therefore at all times the attitude towards doctors is harsh and critical: someone who only knows how to bleed and treat all diseases with soda is too far from the Christian path if he does not become hostile to it (Christian Gibner - death Christ), but even the capabilities of the most capable doctor cannot compare with the miracle of Christ. “What is more important for a medical worker: kindness and sensitivity or professional skills?” We will get the answer to this question by tracing the images of doctors in Russian literature.

Alexander Sergeevich Pushkin did not greatly favor the doctors of that time; the poet, as is known, at one time “ran away from Aesculapius, thin, shaved, but alive.” In “Eugene Onegin” he has only two lines about doctors, but how much is contained in them secret meaning and despair about the state of medicine and the professional level of doctors:

“Everyone is sending Onegin to the doctors,

They send him to the waters in unison..."

And in “Dubrovsky” the “doctor, fortunately not a perfect ignoramus” appears only once, but the reader will easily understand with what a sigh of relief the Russian genius wrote these lines, saying, thank God, at least there is hope for someone. In Nikolai Gogol we meet the charlatan Christian Gibner in “The Inspector General” and the “Grand Inquisitor” from “Notes of a Madman.” Holy mothers, it’s scary to live for a sick person! It seems that the attitude of writers towards the doctor has reached its bottom. And here, like a beacon in a stormy sea of negativity, Mikhail Lermontov brings Werner (“Hero of Our Time”) to the literary stage, and Leo Tolstoy in “War and Peace” shows how a surgeon, after an operation, bends over a wounded patient to kiss him. This reveals the essence of the medical profession, close to the foundations and essences of existence: birth, life, suffering, compassion, decline, resurrection, torment and torment, and finally, death itself. These motives, of course, capture the personality of everyone, but it is in the doctor that they are concentrated as something for granted, as fate. This is why, by the way, a bad or false doctor is perceived so sharply: he is a charlatan of existence itself, and not just of his profession.

A literary hero can be different: in one book he is a warrior who fought for the honor and glory of his people, in another book he is a pirate looking for adventure in the depths of the sea, and somewhere else he is a medic, yes, yes, a medic. After all, people simply do not notice how a medical worker feels when he saves a person, what he does for the sake of his recovery. What lengths is he willing to go to save hundreds of lives?

Doctors are representatives of one of the most difficult professions. A person's life is in their hands.

Not many people in Russian classical literature took medicine and its setting into the genre: A. Solzhenitsyn “Cancer Ward”, A. Chekhov “Ward No. 6”, M. Bulgakov “Notes of a Young Doctor”, “Morphine”, etc.

Moreover, a lot the most talented writers came to Russian literature from medicine: Chekhov, Veresaev, Bulgakov, etc. Literature and medicine are brought together by the deepest interest in the human personality, since it is a caring attitude towards a person that determines a true writer and a true doctor.

The profession of a doctor is imprinted on all of Bulgakov’s works. But of particular interest are those works that depict the medical activity of the writer himself and the experiences associated with it, and these are, first of all, “Notes of a Young Doctor” and “Morphine.” These works "contain deep human problems contact between a doctor and a patient, the difficulty and importance of the first contacts of a practitioner, the complexity of his educational role in contact with the sick, suffering, frightened and helpless element of the population."

M. A. Bulgakov is an interesting writer, with his own special creative destiny. It is worth noting that initially Bulgakov was engaged in completely different activities. He studied to become a doctor and worked in the profession for a long time. Therefore, many of his works contain a medical theme. Thus, Bulgakov creates a whole cycle of stories and novellas, united under the title “Notes of a Young Doctor.” They are connected by a single hero-narrator - the young Doctor Bomgard. It is through his eyes that we see all the events described.

The story “Morphine” shows the gradual transformation of a person into a complete slave of the narcotic dope. This is especially scary because a doctor, a university friend of Dr. Bomgaard, Sergei Polyakov, becomes a drug addict.

Doctor Polyakov left a warning to all people in his diary. This is the confession of a deeply sick person. The author gives us very reliable material precisely because he uses the diary form of writing. It shows the reverse development of man, from a normal state to the final enslavement of the soul by drugs."

We see that Anton Pavlovich Chekhov paid great attention to both medical activities and writing, and believed that medical and natural science knowledge helped him avoid many mistakes in writing and helped him deeply reveal the world of feelings and experiences of the heroes of his works.

I would like to dwell on the story “Ionych”, in which the author told the story of a young doctor who came to work in the province, and years later turned into an ordinary man, living lonely and boring. He became hardened and indifferent to his patients. The image of Ionych is a warning to all young doctors embarking on the path of serving people: not to become indifferent, not to become hardened, not to stop in their professional development, to serve people faithfully and selflessly. Chekhov wrote about his first and main profession: “Medicine is as simple and as complex as life.”

To summarize, we can say that the image of a medical worker in Russian literature is not only one of the most widespread, but also one of the deepest and filled with the number of problems and issues that it was intended to highlight and sharpen. This is a question of the social structure of the state, and questions of religion, morality and ethics. The image of a doctor is often of great importance when the work deals with the basic modes of human existence: care, fear, determination, conscience. This is not surprising, since it is possible to penetrate to the very root of human existence only in such borderline situations as the physician often deals with: struggle, suffering, death. In Russian literature, the image of a doctor has gone through a long and interesting path from a charlatan to a romantic hero, from romantic hero to a down-to-earth materialist and from a materialist to a bearer of morality, a hero who knows the truth, who knows everything about life and death, who is responsible for others in the broadest sense.

"Even as an ordinary average person, a physician

still, by virtue of his profession itself, he does more

kind and shows more selflessness than other people."

The image of a doctor in Russian literature. Doctors in Russian classical literature

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