Cultural Ñode Figurative Picture of War in the Poetic Work of Blockade Children Evacuated to the Omsk Region

Khil'ko Nikolai Fedorovich ORCID: 0000-0003-3204-2216 Doctor of Pedagogy Senior Researcher, Siberian Branch of the D.S. Likhachev Russian Cultural and Natural Heritage Research Institute; Professor of the Department of Directing and Choreography of the Omsk State University named after F.M. Dostoevsky 644077, Russia, Omsk region, Omsk, Andrianova str., 28, office 204A fedorovich59@mail.ru Other publications by this author

Gorelova Yuliya PhD in History Scientific Secretary, Siberian Branch of the Heritage Institute; Associate Professor, Siberian State Automobile and Road University 644077, Russia, Omsk region, Omsk, Andrianova str., 28, office 204A gorelovaj@mail.ru

The problem of decoding the figurative picture of the war and the home front on the basis of the combined ideas of wartime is revealed through the representation of moral and patriotic meanings reflected in poetic works-responses of children of the blockade, whose childhood was spent on Omsk land. Their cultural code remains difficult for the modern generation to understand and remains not fully understood. The task of this particular study is to analyze the images of war and home front reflected in the poetic work of Leningrad children during the evacuation to the Omsk region.  

     In the system of concepts of the figurative picture of historical memory, the concept of "image" plays a key role. The image in all humanities is considered "as the result of copying (reflecting) objects or phenomena of reality, presented in the form of a "picture" created in the human mind using verbal or other means in a work of art" ^{[1, p. 37]}.

      The authors of this article understand the image as a mental construct acting as an intermediary between human consciousness and external reality and generated in the course of perception or imagination. Images in this sense are always some kind of visual declaration of reality. On the one hand, they are based on real phenomena, things and events. On the other hand, they show not so much how this event actually existed, but how it was reflected in the consciousness of a particular person or some social group. In this case, we will talk about the reflection of images of war and the home front in the poetic creativity of the children of the blockade.

       Speaking about the nature of the image, it is necessary to note the fact that in the process of appearance the image goes through several stages: 1. primary sensory perception of reality, 2. its comprehension, 3. integration into the processes of imagination and memory preservation. In addition, when forming an image, a person relies not only on direct sensations and experiences, but also on the totality of previous experience.     

        At the same time, there are three other components of the concept of "figurative picture of historical memory": figurative cliches, historical memory and poetic means.

 The concept of "figurative cliches" is derived from the concept of "cliche" which means "a speech stereotype, a ready-made phrase used as an easily reproducible standard in certain conditions and contexts. Unlike a stamp, which is a hackneyed expression, a cliche forms a constructive unit that retains its semantics and, in many cases, expressiveness. In linguistics, these are standard patterns of word usage, typical schemes of phrases and syntactic constructions.     

  In the system of modern literary Russian, words, for the most part, function not as arbitrarily and unexpectedly collided and interlocked components of speech, but as cliches, occupying stable places in traditional formulas. Most people speak and write using ready-made formulas, cliches” ^[2].

Combining the concept of "image" with the concept of "cliche" in the context of poetic speech allows us to talk about figurative cliches as derivatives of stable constructions reflecting the essence of the semantics of statements in the traditional figurative form. In our opinion, the figurative cliches of the city in poetic texts are a number of key metaphors and symbol images that form part of the figurative framework of the city and express its visually perceived appearance ^[3].

 Poetic means are all means of artistic expression that a writer can use to enhance the imagery and beauty of the speech of his works, to create new images. The means of artistic expression are tropes (metaphor, epithet, comparison, metonymy, synecdoche, allegory, irony, litota, personification) and figures of speech (alliteration, assonance, gradation and non?union, antithesis ^{[4, p. 235]}. In our context, by the poetic means of blockade children, we mean the reflection of children's experiences and impressions about the war in various ways of artistic and figurative speech.  These are forms of verbal expression that express the emotional states of children and their experiences of images of reality. These can be such means as: metaphors, epithets, comparisons, personifications, etc.

Of all the definitions of historical memory, the point of view of it as an image or construct of collective memory ^[5], reflected in the individual consciousness and the author's representation, is closest to us.  

     Thus, the derivative definition of the concept of "figurative picture of historical memory" includes a complete set of figurative cliches and poetic means reflecting historical memory.

Obviously, in connection with the task of research of this kind, scientists are increasingly resorting to the concept of cultural code, which, according to B.I. Kononenko, represents "the key to understanding this type of culture", "a set of signs, symbols, meanings (and their combinations) that are contained in any subject of material and spiritual activity a human being" ^{[6, p. 45]}.

In our opinion, this totality in the context of a figurative picture of historical memory should be defined and positioned mainly with figurative content and moral and patriotic meaning.  Based on the opinion of N.G. Merkulova, we define the cultural code as a number of value-normative attitudes in the symbolic plane of a given culture, which are deciphered when reading the relevant texts. In this regard, it should be understood that "cultural codes as mental structures that allow you to move from meaning (the generally recognized designation of an object or phenomenon) to meaning (an element of the language of a particular culture) are analyzed on the material of works that, by virtue of their visual representation, are an informative and reliable source of research" ^{[7, p. 183]}, that is, they reflect the character of semantic units as accurately as possible.

The poetic resources of literary works are a reflection of pictures of a figurative vision of the world, correlated with figurative cliches, acting as some standards of perception. At the same time, the results of direct perception form new impressions at any given moment, correlated with previous standards.  It should be assumed that significant perception factors play an important role in the formation of standards of perception in poetic texts: the values of a certain culture, the experience of perceiving the phenomena of the epoch, other people, communities, social ideals imprinted in literary, artistic or scientific works, in fine art, in the Internet space. The evaluation, selection and assignment of meaning to images included in the poetic structure of thought is largely determined by the personality characteristics of the creator and the significance of situations.

We are interested in the essence of the difference between adulthood and childishness of perception, which is determined by the peculiarities of the vision of reality, evolving from specifics to figurative generalizations, from naivety of perception to expressiveness. At the same time, the ontological specificity of children's images is determined, according to L.K. Nefedova, "by their generic belonging to the epic, lyrics or drama, which differently reflect the spatiotemporal and causal aspects of being" ^{[8, p. 543]}. These features are vividly reflected in the images of children's poetic creativity during the Great Patriotic War.

The connection of this problem with the most important scientific problems is as follows. The task of the research goes directly to the study of the problems of everyday blockade time, reflected in children's perception. It is based on the problematic field of research on the daily life and culture of children in the blockade.

Recent achievements and publications related to the solution of this issue allow us to highlight the unresolved part of the general problem that this article is devoted to. This topic is represented by a range of scientific research in the following areas:  the identification of contradictions in the use of the experience of the First World War to save children ^[9], the metaphorically illusory representation of images of motherhood and childhood ^[10], the mental characteristics of heroism and exploits of Leningraders ^[11], the connection of historical consciousness with its patriotic meaning ^[12], the artistic creativity of the blockade as a civil-patriotic expression that contributes to "opposing the enemy and inspiring hope for achieving victory" ^[13]. Works on the study of everyday life and cultural aspects of childhood memories stand out ^{[14, 15, 16]}, as well as the stay of blockade children in the Omsk region ^{[17, 18]}. In essence, there is a selection of documents from the blockade collection of the Pedagogical Museum of the St. Petersburg Academy of Postgraduate Education, which lacks materials on the Omsk region, as well as the formulation of this problem.  Valuable information is contained in L.V. Derbilova's article "From the blockade collection of the Pedagogical Museum of the St. Petersburg Academy of Postgraduate Education", published in issue No. 4 of the journal   "National Education" for 2020.   There are studies by Kutuzov A.V. of English sources on how "the Soviet culture stood up for the Motherland" ^{[27, p. 30]} and a book about the siege days of Leningrad by the English author Caroline Walton ^[28]. However, an essential research gap in this problematic field is the study of the creative leisure of Leningrad children on Omsk land as a poetic reflection of their historical and patriotic consciousness.

The objectives of the work are related to the objectives of the study, which are in the following positions. 1. Problematic interpretation of poetic images. 2. Identification of the moral and patriotic meanings of wartime as a figurative picture of historical memory. 3 Definition of a certain cultural system of patriotic understanding of figurative meanings and their vision in art. 

Methodological approaches to the study of poetic images of historical memory have been reflected in a number of cultural, historical and literary works and research on semiotics.

In the works of D.K. Burkhart, visual markers of the semiotics of urban space are presented ^[19]. At the same time, it should be noted that poetic images tend to reflect past reality in active images of historical memory. At the same time, the information structure of historical memory, according to B. G. Mogilnitsky, includes, along with historical knowledge (scientific knowledge) and historical representations that reach everyday consciousness, emotionally determined historical images ^{[20, p. 45]}.

Different socio-cultural experiences can become the basis for the formation of people's different perceptions of the same phenomena and events. In this regard, it can be emphasized. In this article, we will talk about the formation of specific images of war and the rear in the poetic work of blockade children, the nature of which is determined by the immediacy of the experiences of the events of the war. This feature distinguishes their perception from the vision of other children who did not directly experience the events of the war. On the other hand, this distinguishes this type of child perception from an adult, when the image-response to an experience is replaced by an image-memory representing involvement in the subculture of military childhood ^{[21, pp. 5-16]}.

This determines the methodology of the problem-semantic approach to the analysis of poetic creativity of blockade children. At the same time, the logic of the development of the content of poetic origin is based on the formation of a chain of impressions of cultural and historical memory in figurative cliches. The characteristics of the problem-semantic analysis are reduced to the following argument: the brightness and strength of the experiences in the selected texts of amateur and professional poetic works of children in the blockade makes it difficult to represent this kind of analysis. 12 poetic texts by amateur and professional authors are considered, including works by R. Rozhdestvensky, A. Gorodnitsky, V. Ponomarev and P. Anfinogenov. The main tool of analysis here is to identify the moral and patriotic meanings of images of war and the home front, as well as figurative cliches that form the overall image of wartime. 

     It should be understood that the moral and patriotic meaning of the images of war and the rear in the figurative picture of historical memory is based on two complementary structures of its semantics: the moral content and the patriotic accompaniment of the moral meanings inherent in it. This premise is confirmed by the idea of Z.M. Kharisova that "moral and patriotic education of children, in a broad sense, aims to awaken children's interest in the world around them, love for the Motherland and its heroic past by various pedagogical means" ^[22]. Thus, the problem-semantic approach to the analysis of the poetic creativity of blockade children is complemented by the semantic one. 

At the same time, it should be noted that the historical image has a scientific determination exclusively at the first two levels mentioned above. However, the image of historical memory has a greater reconstructive potential. The formation of an iconic construct based on it, in a certain sense, captures the image of the past in the minds of its creators. This process is based on experiences and impressions as dominants of figurative historical memory. As a result, events, facts, and phenomena that have left the most vivid impression in people's minds become the basis for the formation of a certain stable cultural code. In this form, it relies on the function of emotional interpretation of events, epochal phenomena and is saturated with metaphors, hyperbole and other means of artistic embodiment. At the same time, his entry into the mass consciousness allows him to identify the image with the values and ideals of society and promote integration into society. 

In addition, it should be noted that the images of historical memory are combined into a chain of certain figurative cliches, forming a certain figurative memory system in which historical events and phenomena are represented. In the process of life, images of historical memory are constantly updated or forgotten, depending on the value-semantic attitude towards them. Actualized images of historical memory continuously change the circle and sphere of actualization: memory correction and refinement occur. Here, as in folklore, variants of memory images arise in different socio-cultural environments and situations, reinforced by various dominants of their perception. Hence the different cultural code of images of historical memory, due to the nature of time and epoch.

The figurative picture of the war in the historical memory of the witnesses of the military era extends to the images of the front and rear. It includes two subsystems: visually perceived, based on the realities of the object-spatial environment and reflexive-personal, reflecting the experience of perception and included in the social environment of the inhabitants of the country. The integrity of the images of historical memory is completely determined by the spiritual and moral meanings of its subtext. At the same time, in the works of artists, poets, and writers, deep, emotionally affecting images are created that can evoke empathy, imitation, and a consistent vision of the military era by readers.

In this regard, the opinion of N.P. Antsiferov is absolutely correct, who believes that the mental side of impressions reflecting images of time is determined by the holistic vision of the found logos and the ways of transmission in the artistic form of the epoch and place, which can lead to an understanding of his idea ^{[23, p. 46]}.

From this point of view, for the analysis of the content and meaning of figurative cliches that form ideas about wartime in the context of the moral significance of images of the front and rear, the most acceptable, in our opinion, is the content-genetic classification of images by D.N. Zamyatin, which "takes into account the substantial origin of either the image as a whole or its individual elements" ^{[24, p. 14]}. It is important to note that it creates an ordering of figurative metaphors and cliches and takes into account the semantic origin of images in the semiotics of a related space or its related elements.

On the one hand, these are images of the enemy and the military actions that led to the blockade, which are contrasted with the images of the people who stood up to defend the motherland and the first rescuers of children. On the other hand, it is an image of the place of salvation of the many-faced Siberia, the children of the side, the pupils and educators, their mentors, the guardians of their difficult childhood, who took on this difficult care. From here, two groups of images emerge: images of wartime in the frontline and images of a rear military childhood. 

It must be said that the poems of the blockade children, written during the Great Patriotic War on the basis of non-direct experiences, act as authentic casts from reality, reflecting the images of experiences that arose in the minds of young authors full of patriotic sentiments. 

The first aspect of poetic texts is the images of war and the enemy. The images of a people full of the will to win, who are ready to defend their homeland with a powerful single impulse, are opposed to Hitler's rejection. The chain of poetic images reflecting the events of wartime in the frontline zone in the works of the blockade children begins with the appearance of the besieged city, beloved, free, which in the poems appears "more spacious than the seas and oceans", "the cradle of uprisings", "the city of my homeland". 

In the metaphorical senses of the figurative characterization of the native city given by the Leningrad girl N. Alexandrova (13 years old), the reader sees a mighty city, whose inhabitants are full of indomitable spirit, will to win, and desire to defend every inch of their native land ^{[25, p. 26]}. In this regard, her poem is characteristic, in which the enemy is depicted as a fierce fascist beast, whose strength the author sees in the willingness to fight the enemy of technicians and fortitude.

Here, the moral and patriotic meaning of the people's powerful desire to defend their Homeland is triggered, which is shown with the help of a metaphorical series of figurative cliches, which contain the image of a people full of the will to win and ready to bring down a "hail of shells" on the enemy.

And it's not for nothing that Hitler sharpens his teeth

To the free city of Leningrad.

If the enemy wants to enter it,

We will bring down a hail of shells on him ^{[25, p. 26]}.

The patriotic spirit and the will to Victory of the Soviet people are directed at resisting this powerful force of the pitch fascist hell. The leitmotif of many poems, including by N. Alexandorova, is a feeling of revenge and hatred towards the enemy for the ruins. death. mockery of the shrines of Russia, which appeared among the Leningraders during the Great Patriotic War.

Don't dream about it, the enemy is hungry,

All our people are singing a song about victory.

Even though your eye sees our pride,

But the strongholds of Leningrad have no teeth.

Alexandrova N., 13 years old ^{[25, p. 26]}.

The moral significance of the images, clothed in vivid metaphors, lies in the common desire with all the people to protect their homeland, which is filled with lines of poems by children of the blockade. 

In the images of the poem by Grisha Frindlyansky, a student of the 7th grade of the Krestinsky school of the Omsk region, a beautiful and mighty city is perceived, wounded, but not subdued. The Russian people, the defender of the Fatherland, is shown in children's poetic lines as a "valiant steel army" vigilantly guarding the city. The poem is filled with a moral and patristic sense of the greatness of the feat and the indomitability of the spirit of the defenders. Here, the metaphors of the images of the city of besieged Leningrad are enclosed in the incredible strength of the fortress of the spirit.

Nothing, no bombs, no shells,

No darkness, no thousands of deaths -

They didn 't break Leningrad,

He became even stronger in the fight [26. p. 98].

The figurative cliches of this poem form an even more powerful patriotic impulse, in which the symbol of the steadfast courage of Leningrad is combined with love for his native city. 

And the bronze horseman over the Neva

He stretched out his straight arm.

With his golden hat

St. Isaac's Cathedral is shining.

As before, majestically, proudly

It stands on the Nevsky Bureg

A wounded, beautiful city,

Who did not submit to the enemy ^{[26, p. 98]}.

At the same time, this work vividly depicts the image of a cruel enemy through the motif of an unconquerable city on the Neva River, which is presented by children as a formidable fascist army that has unceremoniously burst into our country, merciless. insidious and evil, capable of ruining the lives of children, hordes of whom commit robbery. 

In turn, the patriotic reflection of the most brutal events of the war in the self-reflection of the authors of poetic works is identified with the heroes of wartime. The moral and patriotic rejection of the images of the poem by 11-year-old Yura G.: the steadfastness of the defenders of the city and the willingness to come to the defense of the motherland, the immeasurability to the enemy is shown through a chain of metaphors in the image of the author of the blockade, who on behalf of his generation asserts a steady desire to fight the enemy, to avenge the spilled blood: and it is written vividly, memorably.

And my dream is running wild -

Into battle, where the roar of gunfire in the darkness.

I would like to get a rifle in my hands as soon as possible,

Put a hat over your eyes.

I wish I could rush into battle.

And replace my father in the squad. 

To avenge the sea of Russian blood -

That's what I always dream about.

You know, fascist bandits,

You will never defeat us!

Yura G., 11 years old ^{[26, pp. 26-27]}.

In A. Gorodnitsky's poems, the civil moral and patriotic prafos of the images of the rear is contained in the self-effacement of the children's followers and the fearlessness of a feat in the name of life. This mood is accompanied by sincere love for children, associations of boundless courage and the value of every life of Soviet children. The leitmotif of memory here is manifested by the author in the legendary image of a driver who took children along the "road of life". This is sincerely told in the poem "To my unknown warrior". The work, remarkable in its figurative structure, sounds like a poetic memorial to an unknown hero in the eternal unforgettable feat. The sudden death of the driver is contrasted with the long life of the author of poetic lines, which he owes to an unknown hero ^{[26, p. 16]}. 

In the poetry of Sasha Pernov, there is a moral and patriotic meaning of the hateful attitude towards the fascists, expressed in the images of an incredibly cruel enemy.

***

The peaceful life of the country has ended,

I had to fight again.

She burst in on us without saying anything,

There are a lot of damned fascists.

An order has been issued for the city of Lenin:

"To take children inland,

So that the enemy is unfounded, insidious and evil

I couldn't ruin their lives!

Sasha Pernov, a pupil of the Perishn boarding school, 14 years old in 1942 [26. p. 26].

In the poem by the unknown Avor, filled with the moral and poetic spirit of the atmosphere of the feat, images of rescuers also loom.

...You walked bravely through storms and through thunderstorms,

Calmly you faced the hour of death.

For our childhood under bombs and bullets

They fearlessly exposed their breasts.

Unknown author ^{[26, p. 106]}.

     The second aspect of poetic texts - the image of military childhood in the rear began with the image of himself in verse  A place where children found a spiritual response despite everyday troubles: it was warmed by the warmth of the soul of Siberians. There were no choirs here, but they were well-groomed abodes of blockade children.  

These feelings arise in Vyacheslav Elizarov's poem "Orphanage", the moral and patriotic content of which lies in the inflexibility of the spirit and is conveyed in the image of a hungry military childhood, full of the naive desire of children to help the Fatherland against the background of paintings of the "orphanage", painted with vivid comparisons with the image of silence in the middle of the night.

What do I remember? ...But I don't remember much.

I clearly remember the orphanage.

There was a three-storey building. Silent.

And strict, like the fields at night.

Vyacheslav Elizarov ^{[26, p. 45]}.

The civil moral and patriotic meaning of the images of the rear, presented in V. Elizarov's poetic lines, lies in an atmosphere of calm, kindness and mercy, which is shown through the harsh and strict metaphors of the rear - the place of salvation.

Naked. Sometimes it's slushy, sometimes it's cold,

Basement. We're huddled in a corner.

And hunger. Space hunger.

I haven't been able to eat since then...

And my friend, Pavel Ananiev,

He moved from childhood to the front.

They returned it. And he was running again.

The military commissar was swearing with might and main.

Vyacheslav Elizarov ^{[26, p. 45]}.

The work of Vladimir Shumilin (a pupil of the Okoneshnikov orphanage) is close in meaning to the previous poem. It also has a meaning that creates an atmosphere of calm, kindness and mercy. The images of the rear are truly harsh evacuation sites, but they have become a good substitute for the parental home.

... Okoneshnikova - Omsk village.

Oh, where have we, the Leningraders gone!

Bitter wind, front-line hurricane,

Siirsky region became a native for orphanages...

Vladimir Shumilin. ^{[26, p.96]}.

The moral and patriotic meaning of the poem  Vladimir Bukatov is a pupil of the Zhuravlevsky orphanage. it consists in firmness of will and inflexibility of spirit. He could not help but manifest himself in the images of military childhood, which are inseparable from friendship, study and work. At the same time, the feeling of orphanhood is accompanied by the glorification of a place where children are met by kindred spirits.

Our orphanage is an orphanage,

That he became a native for all of us.

We grew up here and learned to read and write,

And they learned what work is.

Our friendship has been tempered here

The years won't erase it.

Vladimir Bukatov.  ^{[26, c. 119]}.

In the poems-memoirs of the children of the blockade. and later, famous poets come up with vivid and saturated pictures of figurative memory, rich in metaphors, hyperbole and personifications. They contain: figurative characteristics of children in the Siberian rear, an atmosphere of moral fortitude and kindness, common destiny and unity in the fight against the enemy.

It should be noted that the images-memories of A. Gorodnitsky's military childhood - are pictures of tortured, but not conquered children, who have not lost their sense of beauty and love of life. And, most importantly, what modern youth need to learn from them is a high culture of love for their second homeland, characteristic of Leningrad children who withstood the harsh trials of the war. No less vivid and memorable are the memories of the resort places of the Omsk Irtysh region. in particular, Chernoluchye, where blockade children were brought. The poet recalls this in the following lines.

There are no better memories in life,

Prepare your heart for them diligently:

Pioneer camp in Chernoluchye,

The fifth term. First love.

There are giant pines above the cliff.

The moon is bathing in the Irtysh.

Far away, in defeated Berlin,

The war has just ended ^{[26, p. 149]}.

      In turn, the civic moral and ethical meaning of the images in the poetry of Valery Ponomarev lies in the steadfastness and friendliness of the home front workers and the indomitability of the spirit, which is manifested in their images. They focus on the care of children, a truly maternal attitude, hospitality and selfless love of Siberians.  The image of Siberia in Valery Ponomarev's poetry is personified with the image of a protective Mother. The images of the women of the rear appear as a noisy flood, and the children they adopted are like the greatest gift of fate. We find these metaphors in the poem "Warmed by Siberia".

As in high water, the women ran out

The support of manless villages...

And they took apart the weak as gifts

And the starvation of starved children.

But if there are no such lists in the world,

Those who warmed the orphans with the warmth of their souls [26. p. 29].

  Here Siberia in the metaphorical representation of the poet is a boundless ocean of love and care.

And the Siberian Ocean is a land of care,

Everyone will be warmed by the warmth of their hearts here ^{[26, p. 29]}.

At the same time, the Siberian rescuers with their "uniform potatoes", valiant soldiers, home front workers, reflected in V. Ponomarev's poetic lines, were perceived by the blockade children as a second family. Hence, in the poetic lines of the author, the personification of the Siberian region with the image of the Motherland.

The participants of the already distant drama,

Warmed by Siberia in a terrible hour,

I'm sure they call our region mom

And tears are rolling out of their eyes ^{[26, p. 29]}.

 The lines dedicated to Siberian residents express a sense of duty to children, a desire to help. Here we see the saving mission of people full of mercy and compassion. At the same time, the moral and patriotic meaning of these images lies in selfless perseverance and the will to Win.  Metaphorically, this meaning is embedded in the images of the rescued children. This picture is complemented by chains of images created by the poet P. Anfenogenov. In his lines, metaphors of immense kindness and generosity border on a certain degree of idealization of female images. 

The soldiers were greeted in a motherly way

Children of the blockade from the banks of the Neva.

They are the kindest people in the whole world.

We are proud to talk about it.

A piece of the afterlife is for Leningrad children,

And a sheepskin coat with a hat is also for them ^{[26, p. 54]}.

At the same time, the inner world of the blockade children is vividly expressed in R. Rozhdestvensky's poem "Children of War", which contains the moral and patriotic meaning of the greatness of the feat, kind attitude to their rescuers. There is a chain of cliched images of symbolic people-obregs, who always come in dreams, and victorious children. The poet's childhood memories come into contact with a "huge non-childish disaster" that "fell on weak shoulders."  Here the motives of early adulthood and unity in destiny make themselves felt. The image of the Oberg Homeland inspired warriors to moral deeds. At the same time, the selfless love for the children of Siberians and the whole people was an expression of common concern. This is reflected in the following lines.

And the great motherland kept us safe,

And the Motherland was our mother.

She shielded the children from death,

She was saving her children for life.

Years will pass, but these days and nights

They will come to you and me more than once in a dream.

And even though we were very small,

We also won that war ^{[65, p. 32]}.

The main thing that catches the eye in the images of Omsk children of war is their unchildlike sadness, unity with the war as an integral part of their difficult childhood. At the same time, the motives of the Motherland, which shielded children from death and allowed them to gain a little victory over themselves, sound like vivid metaphors. At the same time, the moral force that makes up the character of the images of the rescued Leningrad children on Omsk land lies in the irresistible will to Win and live.

 As a result of the analysis of the images of the historical memory of the children of the blockade, whose childhood was spent on the Omsk land, two groups of images were identified, each of which contains a certain moral and patriotic meaning, which corresponds to a number of its figurative cliches (see Table 1).

     Table 1. The moral and patriotic meaning of images of war.

 As can be seen from Table 1, the first group of images corresponds to the moral and patriotic meaning of images of war, expressed in moral fortitude, images of fearlessness, courage, indomitability of spirit, readiness at any moment to stand up for the defense of the motherland - that is, a group of volitional and emotional qualities of a military–patriotic orientation, formed during the elevation of the importance of exploits in the name of life.

The second group: images that contain the moral and patriotic meaning of images of the rear, which became a life-affirming place and contributed to the emergence of a collective spirit, work, leisure, and patriotic sentiments of children in the historical and patriotic consciousness of blockade children (see Table 2).

Table 2. Table 1. The moral and patriotic meaning of the images of the rear.

        It should be noted that the above-presented moral and patriotic meanings of images of war and the rear through the figurative picture of historical memory are formed into a certain coding system (Fig. 1). Historical memory here acquires a poetic coloring in specific images of war and the rear with the help of certain poetic means that give them some moral and patriotic meaning due to the poetic lines of figurative cliches, which, in turn, determine the figurative picture of historical memory, thereby forming a certain cultural code.

 Rice. 1. The system of encoding the moral and patriotic meaning of poetic images of war and the home front through a figurative picture of historical memory.

The images of wartime and the home front created by the children of the blockade in their poetic work are complex and diverse. In many ways, they fit in with the images of a military childhood, difficult and difficult. In our opinion, they can be seen as a dichotomy of the opposition of the enemy and the people-defender: "the besieged city - the enemy – the people-warriors and rescuers – blockade children" and "the rear – evacuated blockade children – the people-rescuers".  At the same time, the poetic work of outstanding poets who were among the children of the blockade during the war is characterized by: the brightness of images, memories, depth of reflection, the moral and patriotic significance of images, the wealth of poetic means (metaphors, personifications, comparisons, etc.).

At the same time, in general, the specificity of the figurative picture of the poetic works of the children of the blockade as a series of testimonies of that era, written during the war, is manifested in the identity of images of historical memory, the presence of experiences and moods, the immediacy of emotional responses to the events of the Great Patriotic War and the blockade. They are in tune with the general patriotic sentiments of the war era. And, although they are not all poetic masterpieces, they are also no less significant as documents of the era and an expression of the sentiments of an entire generation of war children. It should be noted that a number of poetic works by children of the blockade, written during the war, can be put on a par with the works of professional poets.

So, the figurative picture of the war created by the blockade children in adult and children's poetry expresses the cultural code of wartime, which consists in the desire to defend their homeland, to perform a feat in the name of life. It contains the moral and patriotic traits of indomitability of spirit, hatred of fascists, steadfastness and readiness to come to the defense of the motherland, intransigence to the enemy, dedication and heroism, determined by the atmosphere of the feat.

At the same time, the cultural code of the figurative picture of the rear and military childhood of the children of the blockade is based on an atmosphere of kindness and mercy and manifested itself in a number of noble qualities of the Siberian saviors: dedication of the soul, love for children, the will to win, life, indomitability of spirit, perseverance and friendliness.

At the same time, decoding the moral and patriotic meaning of the figurative picture of historical memory created by the blockade children includes a transition from figurative signs of memory, culture of love for the Motherland, enclosed in figurative cliches to symbols of struggle, images of dedication, archetypes of heroism, feats to universal values expressed in identical poetic means.

In our opinion, the prospects for further research in this direction consist in studying the means of representing the figurative picture of the historical memory of war children in the modern cultural environment, further analyzing the origins of their heroism and selflessness, as well as reflecting images of heroism and selflessness expressed in verbal and visual forms. 

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