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Russian Literature at the Turn of the 19th – 20th Centuries. Features of Russian literature at the turn of the 19th – 20th centuries Russian literature at the turn of the 19th and 20th centuries

The coexistence of different directions at the same time is characteristic. Modernism, realism together. New within the old. The same themes sound in the work of writers of different directions. Questions about life and death, faith, the meaning of life, good and evil. At the turn of XX apocalyptic moods. And next to this is a hymn to man. 1903 ᴦ. Bitter. Poem in prose ʼʼManʼʼ. Nietzsche is an idol for Gorky, Kuprin and others.
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He raises questions about self-respect, dignity and the significance of the individual. Kuprin ʼʼDuelʼʼ. Freud is interesting, interest in the subconscious. ʼʼMan - ϶ᴛᴏ sounds proudlyʼʼ. Attention to the person. In Sologub, on the contrary, attention is paid to a small person. Andreev forced to perceive thoughts about the proud Man of an ordinary average man in the street and led him to the realization of the impossibility of life. The problem of personality. Search, questions about life and death on an equal footing. The motif of death is in almost every poem. The search for meaning and support in man, the next question arose about faith and unbelief. They turn to the devil no less than to God. An attempt to understand what is more: devilish or divine. But the beginning of the century - ϶ᴛᴏ is still the heyday. High level art of the word. Realists: Tolstoy, Chekhov, Kuprin, Bunin.

Writers counted on the thinking reader. The open sound of the author's voice in Gorky, Blok, Kuprin, Andreev. The motive of leaving, breaking with the home, environment, family among the Znanev people.

Publishing house ʼʼKnowledgeʼʼ. It was fundamentally oriented towards realistic literature. There is an ʼʼcommunity of literateʼʼ. Οʜᴎ are engaged in the spread of literacy. Pyatnitsky works there. In 1898, the ʼʼKnowledgeʼʼ publishing house was separated from this society on his initiative. First publish scientific works. General educational literature.

All publishing houses published realistic works. ʼʼWorld of Artʼʼ - the first modernist publishing house. 1898 ᴦ. And the magazine of the same name. The organizer of the issue is Diaghilev. Here the Symbolists until 1903, and then they have the magazine ʼʼNew Wayʼʼ. ʼʼScorpioʼʼ (ʼʼLibraʼʼ) in St. Petersburg, ʼʼVultureʼʼ (ʼʼGolden Fleeceʼʼ) in Moscow.

ʼʼSatyriconʼʼ and ʼʼNew Satyriconʼʼ. Averchenko, Teffi, Sasha Cherny, Bukhov.

General characteristics of the literature of the beginning of the century. (more details to read)

Late XIX - early XX centuries. became the time of the bright flowering of Russian culture, its "silver age" ("golden age" was called Pushkin's time). In science, literature, art, new talents appeared one after another, bold innovations were born, different directions, groupings and styles competed. At the same time, the culture of the "Silver Age" was characterized by deep contradictions, characteristic of the entire Russian life of that time.

The rapid breakthrough of Russia in development, the clash of different ways and cultures changed the self-consciousness of the creative intelligentsia. Many were no longer satisfied with the description and study of visible reality, the analysis of social problems. I was attracted by deep, eternal questions - about the essence of life and death, good and evil, human nature. Revived interest in religion; the religious theme had a strong influence on the development of Russian culture at the beginning of the 20th century.

At the same time, the critical era not only enriched literature and art: it constantly reminded writers, artists and poets of the coming social explosions, that the whole habitual way of life, the whole old culture, could perish. Some were waiting for these changes with joy, others - with longing and horror, which brought pessimism and anguish into their work.

At the turn of the XIX and XX centuries. Literature developed under different historical conditions than before. If you look for a word that characterizes the most important features of the period under consideration, then it will be the word "crisis". Great scientific discoveries shook the classical ideas about the structure of the world, led to a paradoxical conclusion: "matter has disappeared." The new vision of the world, thus, will also determine the new face of the realism of the 20th century, which will differ significantly from the classical realism of its predecessors. Also devastating to the human spirit was a crisis of faith (“God is dead!” exclaimed Nietzsche). This led to the fact that the man of the 20th century began to experience the influence of non-religious ideas more and more. The cult of sensual pleasures, the apology of evil and death, the glorification of the self-will of the individual, the recognition of the right to violence that turned into terror - all these features testify to the deepest crisis of consciousness.

In Russian literature of the beginning of the 20th century, a crisis of old ideas about art and a sense of the exhaustion of past development will be felt, a reassessment of values will be formed.

Renewal of literature, its modernization will cause the emergence of new trends and schools. The rethinking of the old means of expression and the revival of poetry will mark the onset of the "silver age" of Russian literature. This term is associated with the name of N. Berdyaev, who used it in one of his speeches in the salon of D. Merezhkovsky. Later, the art critic and editor of "Apollo" S. Makovsky reinforced this phrase by naming his book about Russian culture at the turn of the century "On Parnassus of the Silver Age." Several decades will pass and A. Akhmatova will write "... the silver month is bright / The silver age has grown cold."

The chronological framework of the period defined by this metaphor can be described as follows: 1892 - the exit from the era of timelessness, the beginning of a social upsurge in the country, the manifesto and collection "Symbols" by D. Merezhkovsky, the first stories of M. Gorky, etc.) - 1917. According to another point of view, 1921-1922 can be considered the chronological end of this period (the collapse of past illusions, the mass emigration of figures of Russian culture from Russia that began after the death of A. Blok and N. Gumilyov, the expulsion of a group of writers, philosophers and historians from countries).

Russian literature of the 20th century was represented by three main literary movements: realism, modernism, and the literary avant-garde.

Representatives of literary movements

Senior Symbolists: V.Ya. Bryusov, K.D. Balmont, D.S. Merezhkovsky, Z.N. Gippius, F.K. Sologub and others.

Mystics- God-seekers: D.S. Merezhkovsky, Z.N. Gippius, N. Minsky.

Decadents-individualists: V.Ya. Bryusov, K.D. Balmont, F.K. Sologub.

Junior Symbolists: A.A. Blok, Andrey Bely (B.N. Bugaev), V.I. Ivanov and others.

Acmeism: N.S. Gumilyov, A.A. Akhmatova, S.M. Gorodetsky, O.E. Mandelstam, M.A. Zenkevich, V.I. Narbut.

cubofuturists(poets of "Hilea"): D.D. Burlyuk, V.V. Khlebnikov, V.V. Kamensky, V.V. Mayakovsky, A.E. Twisted.

egofuturists: I. Severyanin, I. Ignatiev, K. Olimpov, V. Gnedov.

Group "Mezzanine of poetry": V. Shershenevich, Khrisanf, R. Ivnev and others.

Association "Centrifuge": B.L. Pasternak, N.N. Aseev, S.P. Bobrov and others.

One of the most interesting phenomena in the art of the first decades of the 20th century was the revival of romantic forms, largely forgotten since the beginning of the last century.

Realistic publishing houses:

Knowledge (issue of general educational literature - Kuprin, Bunin, Andreev, Veresaev); collections; social Issues

Rosehip (St. Petersburg) collections and almakhs

Slovo (Moscow) collections and almanacs

Gorky publishes the literary and political journal ʼʼChronicleʼʼ (publishing house Parus)

ʼʼMir iskusstvaʼʼ (modernist. Art; magazine of the same name) - Diaghilev founder

ʼʼNew Wayʼʼ, ʼʼScorpioʼʼ, ʼʼVultureʼʼ - Symbolist.

ʼʼSatyriconʼʼ, ʼʼNew Satyriconʼʼ - satire (Averchenko, S. Cherny)

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General characteristics of the period The last years of the 19th century became a turning point for Russian and Western cultures. Since the 1890s and until the October Revolution of 1917, literally all aspects of Russian life changed, from the economy, politics and science, to technology, culture and art. The new stage of historical and cultural development was incredibly dynamic and, at the same time, extremely dramatic. It can be said that Russia, at a critical time for it, was ahead of other countries in terms of the pace and depth of changes, as well as the colossal nature of internal conflicts.

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What major historical events took place in Russia at the beginning of the 20th century? Russia has gone through three revolutions: -1905; -February and October 1917, -Russian-Japanese war of 1904-1905. - World War I 1914-1918, - Civil War

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Domestic political situation in Russia The end of the 19th century revealed the deepest crisis phenomena in the economy of the Russian Empire. - Confrontation of three forces: defenders of monarchism, supporters of bourgeois reforms, ideologists of the proletarian revolution. Various ways of perestroika were put forward: "from above", by legal means, "from below" - through revolution.

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Scientific discoveries at the beginning of the 20th century The beginning of the 20th century was the time of global scientific discoveries, especially in the field of physics and mathematics. The most important of these were the invention of wireless communication, the discovery of X-rays, the determination of the mass of the electron, and the study of the phenomenon of radiation. The worldview of mankind was turned over by the creation of quantum theory (1900), special (1905) and general (1916-1917) theory of relativity. Previous ideas about the structure of the world were completely shaken. The idea of the knowability of the world, which was previously an infallible truth, was questioned.

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The tragic history of literature in the early 20th century From the beginning of the 1930s, the process of physical extermination of writers began: N. Klyuev, I. Babel, O. Mandelstam and many others were shot or died in the camps.

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The tragic history of literature of the 20th century In the 1920s, writers who made up the color of Russian literature left or were expelled: I. Bunin, A. Kuprin, I. Shmelev and others. "The Tale of the Unextinguished Moon" by B. Pilnyak. In the 1930s, the writer was shot. (E. Zamyatin, M. Bulgakov and others) I.A. Bunin

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The Tragic History of Literature at the Beginning of the 20th Century Since the beginning of the 1930s, there has been a tendency to bring literature to a single method - socialist realism. M. Gorky became one of the representatives.

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In other words, almost all creative people of the 20th century were in conflict with the state, which, being a totalitarian system, sought to suppress the creative potential of the individual.

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Literature of the late 19th - early 20th centuries At the end of the 19th - beginning of the 20th century, Russian literature became aesthetically multilayered. Realism at the turn of the century remained a large-scale and influential literary movement. So, Tolstoy and Chekhov lived and worked in this era. (reflection of reality, life truth) A.P. Chekhov. Yalta. 1903

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"Silver Age" The transition from the era of classical Russian literature to the new literary time was accompanied by an unusually fast. Russian poetry again entered the forefront of the country's general cultural life, unlike previous examples. Thus began a new poetic era, called the "poetic renaissance" or "silver age".

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The Silver Age is part of the artistic culture of Russia at the end of the 19th - beginning of the 20th century, associated with symbolism, acmeism, "neo-peasant" literature, and partly futurism.

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New trends in the literature of Russia at the turn of the century In the period from 1890 to 1917, three literary movements, symbolism, acmeism and futurism, were especially pronounced, which formed the basis of modernism as a literary trend.

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SYMBOLISM March 1894 - a collection entitled "Russian Symbolists" was published. After some time, two more issues with the same name appeared. The author of all three collections was the young poet Valery Bryusov, who used various pseudonyms in order to create the impression of the existence of a whole poetic movement.

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SYMBOLISM Symbolism is the first and largest of the modernist movements that arose in Russia. The theoretical basis of Russian symbolism was laid in 1892 by D. S. Merezhkovsky's lecture "On the Causes of the Decline and on New Trends in Modern Russian Literature." The title of the lecture contained an assessment of the state of the literature. The hope for its revival was placed by the author on "new trends". Dmitry Sergeevich Merezhkovsky

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The main provisions of the current Andrey Bely The symbol is the central aesthetic category of the new trend. The idea of a symbol is that it is perceived as an allegory. The chain of symbols resembles a set of hieroglyphs, a kind of cipher for "initiates". Thus, the symbol turns out to be one of the varieties of tropes.

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The main provisions of the current The symbol is polysemantic: it contains an infinite number of meanings. "A symbol is a window to infinity," said Fyodor Sologub.

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The main provisions of the current were built in a new way in the symbolism of the relationship between the poet and his audience. The symbolist poet did not seek to be universally intelligible. He did not address everyone, but only "initiates", not to the reader-consumer, but to the reader-creator, reader-co-author. Symbolist lyrics awakened the "sixth sense" in a person, sharpened and refined his perception. To do this, the Symbolists sought to make the most of the associative possibilities of the word, turned to the motives and images of different cultures.

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Acmeism The literary movement of acmeism arose in the early 1910s. (from the Greek acme - the highest degree of something, flourishing, peak, point). A narrower and more aesthetically more cohesive group of acmeists stood out from a wide circle of participants in the "Workshop" - N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam, M. Zenkevich and V. Narbut.

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The main provisions of A. Akhmatov's movement New rhythms are created by skipping syllables and rearranging the stress Self-value of each phenomenon "Words that are unknowable in their meaning cannot be known"

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The creative individuality of the symbolists She clenched her hands under a dark veil... "Why are you pale today?" - Because I tart sadness Drunk him drunk. How can I forget? He went out, staggering, His mouth twisted painfully... I ran away, not touching the railing, I ran after him to the gate. Breathless, I shouted: "Joke All that was. If you leave, I will die." He smiled calmly and eeriely And told me: "Don't stand in the wind." A.A. Akhmatova January 8, 1911

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Futurism Futurism (from lat. futurum - future). He first announced himself in Italy. The time of birth of Russian futurism is considered to be 1910, when the first futuristic collection "The Garden of Judges" was published (its authors were D. Burliuk, V. Khlebnikov and V. Kamensky). Together with V. Mayakovsky and A. Kruchenykh, these poets soon formed a group of cubo-futurists, or poets "Gilea" (Gilea is the ancient Greek name for the part of the Taurida province, where D. Burliuk's father managed the estate and where the poets of the new association came in 1911).

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The main provisions of the current As an artistic program, the futurists put forward a utopian dream of the birth of a super-art capable of turning the world upside down. The artist V. Tatlin seriously designed wings for humans, K. Malevich developed projects for satellite cities plying in the earth's orbit, V. Khlebnikov tried to offer humanity a new universal language and discover the "laws of time".

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In futurism, a kind of shocking repertoire has developed. Biting names were used: "Chukuryuk" - for the picture; "Dead Moon" - for a collection of works; "Go to hell!" - for a literary manifesto.

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A slap in the face to public taste To abandon Pushkin, Dostoevsky, Tolstoy, and so on and so forth. from the Steamboat of Modernity. ... To all these Maxims Gorky, Kuprin, Blok, Sologub, Remizov, Averchenko, Cherny, Kuzmin, Bunin and so on. and so on. All you need is a cottage on the river. Such a reward is given by fate to tailors... From the height of skyscrapers we look at their insignificance! 2. An irresistible hatred for the language that existed before them. 3. With horror, remove from your proud brow a wreath of penny glory you made from bath brooms. 4. To stand on a block of the word "we" amid whistling and indignation. And if the dirty stigmas of your "Common Sense" and "Good Taste" still remain in our lines, then for the first time the Lightning Lightnings of the New Coming Beauty of the Self-valuable (self-sufficient) Word are already trembling on them. D. Burliuk, Alexei Kruchenykh, V. Mayakovsky, Velimir Khlebnikov Moscow, 1912 December Creative individualities of futurism Oh, laugh, laughers! Oh, laugh, laughers! That they laugh with laughter, that they laugh with laughter. Oh, laugh wickedly! Oh, mocking laughs - the laughter of clever laughers! Oh, laugh merrily, laughter of mocking laughers! Smeyevo, smeyevo, Smey, smeyevo, smeyevo, smeyevo, smeyunchiki, smeyunchiki. Oh, laugh, laughers! Oh, laugh, laughers! Velimir Khlebnikov 1910 Let's draw conclusions At the turn of the century, Russian literature flourished, comparable in brightness and variety of talents with the brilliant beginning of the 19th century. This is a period of intensive development of philosophical thought, fine arts, stage skills. There are various trends in the literature. In the period from 1890 to 1917, three literary movements, symbolism, acmeism and futurism, were especially pronounced, which formed the basis of modernism as a literary movement. The literature of the Silver Age showed a brilliant constellation of bright poetic individuals, each of which was a huge creative layer that enriched not only Russian, but also world poetry of the 20th century.

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Let's draw conclusions The last years of the 19th century became a turning point for Russian and Western cultures. Since the 1890s and until the October Revolution of 1917, literally all aspects of Russian life changed, from the economy, politics and science, to technology, culture and art. The new stage of historical and cultural development was incredibly dynamic and, at the same time, extremely dramatic. It can be said that Russia, at a critical time for it, was ahead of other countries in terms of the pace and depth of changes, as well as the colossal nature of internal conflicts.

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The main trends in the development of literature at the turn of the 19th and 20th centuries “... Silent and invisible spheres, in which a person became involved, distorted his image ... His self-consciousness disintegrated and disconnected, became abstract and ideal ... The image of a person became multi-layered and diverse ...” M.M. Bakhtin

Philosophy at the turn of the century Marxist F. Nietzsche and his theory of "will and freedom" God-seeking All three main areas of philosophy are moving away from the true faith - an act of apostasy.

Marxist philosophy V.I. Lenin 1910 The development of aesthetics will take place based only on the “materialistic understanding of history” “We know ... only one proletarian science - Marxism”

F. Nietzsche and his theory of "will and freedom" "... and the poor should be completely destroyed" "... pangs of conscience teach to bite others"

Searching for God Rebuild the forms of civil life and human existence on the basis of the renewal of Christianity. That is, an attempt to formulate universal laws that will restrain the aggressive forces of mankind.

"Milestones" (N. Berdyaev, S. Bulgakov) From the idea of a social revolution to the idea of a spiritual revolution The danger of fanatical service to any theoretical programs The moral inadmissibility of faith in the universal significance of certain social ideals Warned of the disastrous revolutionary path for Russia

Disputes about the name of the era Decadence - (from the French "decline") - a certain frame of mind, a crisis type of consciousness, which is expressed in a feeling of despair, impotence, mental fatigue. Modernism - the "latest, modern" "Silver" age of Russian poetry Russian literature, which previously had a high degree of ideological unity, at the turn of the century became aesthetically multilayered.

Its founders were writers and well-known religious publicists and philosophers of the Silver Age. V. Rozanov D. Merezhkovsky

Literary trends Realism: L. Tolstoy, A. Chekhov, L. Andreev, I. Bunin, V. Veresaev, A. Kuprin, I. Shmelev, M. Gorky Features: 1) Themes 2) Heroes 3) Genres 4) Style features (p.21-28 textbook) Modernism: Symbolism Acmeism Futurism G. Severini "The Blue Dancer" 1912

Modernism in painting

Modernism in architecture

Symbolism D.Merezhkovsky (1892 Lecture "On the Causes of the Decline and New Trends in Modern Russian Literature") V.Bryusov V.Ivanov A.Blok F.Sologub A.Bely F.Sologub The main elements of the renewal of literature called "mystical content, symbols and expansion artistic impressionability" "a symbol is then a true symbol when it is inexhaustible in its meaning" "A symbol is a window to infinity" "The desire to depict life in its entirety, not only from its external side, not from the side of its particular phenomena, but figuratively through symbols ... depict what forms a connection with Eternity, with the universal, world process

Artistic features The symbol is a central aesthetic category; is ambiguous: it contains the prospect of an unlimited deployment of meanings, while the full significance of the subject plan of the image, its material texture. Music category. Not the rhythmic organization of sounds, but the universal metaphysical energy, the fundamental principle of all creativity. At the same time, this is the verbal texture of the verse, permeated with sound and rhythmic combinations, i.e. maximum use of musical compositional principles in poetry

“Every poem is a veil stretched out on the points of a few words. These words shine like stars. Because of them, the poem exists." A. Blok “Notebooks” The poem was supposed not so much to convey the thoughts and feelings of the author, but to awaken his own in the reader, help him in his spiritual ascent from “real” to “higher reality” Symbolist lyrics awakened the “sixth sense” in a person, sharpened , clarified his perception, developed a kindred artistic intuition

K. Balmont I am the sophistication of Russian slow speech, Before me are other poets - forerunners, For the first time I discovered deviations in this speech, Repetitive, angry, tender ringing. I am a sudden break, I am a playing thunder, I am a transparent stream, I am for everyone and no one. Multi-foam splash, torn-fused, Semi-precious stones of the original earth, Forest green May roll calls - I will understand everything, I will take everything, taking it away from others. Forever young, like a dream. Strong in that I am in love And with myself and with others, I am an exquisite verse. 1901

Symbolism in painting V.E.Borisov-Musatov "Ghosts" 1903 Odilon Redon "The Eye Like a Ball" 1890

Futurism FUTURISM (from Latin futurum - future), avant-garde movement in European art of the 1910s - 20s, mainly in Italy and Russia. In an effort to create "the art of the future", he declared (in the manifestos of Russian Cubo-Futurists from "Gilea", members of the "Association of Egofuturists", "Mezzanine of Poetry", "Centrifuge") the denial of traditional culture (the legacy of the "past"), cultivated the aesthetics of urbanism and machine industry. Painting (in Italy - U. Boccioni, G. Severini) is characterized by shifts, influxes of forms, repeated repetitions of motives, as if summing up the impressions received in the process of rapid movement. For literature - the interweaving of documentary material and fantasy, in poetry (V. V. Khlebnikov, V. V. Mayakovsky, A. E. Kruchenykh, I. Severyanin) - linguistic experimentation ("words free" or "zaum").

Acmeism AKMEISM (from the Greek akme - the highest degree of something, blooming power), a trend in Russian poetry of the 1910s. (S. M. Gorodetsky, M. A. Kuzmin, early N. Gumilyov, A. A. Akhmatova, O. E. Mandelstam); proclaimed the liberation of poetry from symbolist impulses to the “ideal”, from the ambiguity and fluidity of images, complicated metaphor, a return to the material world, the object (or element of “nature”), the exact meaning of the word. The "earthly" poetry of acmeism is characterized by individual modernist motifs, a tendency to aestheticism, intimacy, or to the poeticization of the feelings of primitive man.

Literature of Russia at the turn of the century Main literary trends, currents

General characteristics of the period The last years of the 19th century became a turning point for Russian and Western cultures. Starting from the thirteenth century and until the October Revolution of 1917, literally all aspects of Russian life changed, from the economy, politics and science, to technology, culture and art. The new stage of historical and cultural development was incredibly dynamic and, at the same time, extremely dramatic. It can be said that Russia, at a critical time for it, was ahead of other countries in terms of the pace and depth of changes, as well as the colossal nature of internal conflicts.

What major historical events took place in Russia at the beginning of the 20th century? Russia has gone through three revolutions: years; -February and October 1917, -Russian-Japanese war. - World War I, Civil War

Domestic political situation in Russia The end of the 19th century revealed the deepest crisis phenomena in the economy of the Russian Empire. Confrontation of three forces: defenders of monarchism, supporters of bourgeois reforms, ideologists of the proletarian revolution. Various ways of perestroika were put forward: "from above", by legal means, "from below" - through revolution.

Scientific discoveries of the 20th century The beginning of the 20th century was the time of global natural scientific discoveries, especially in the field of physics and mathematics. The most important of these were the invention of wireless communication, the discovery of X-rays, the determination of the mass of the electron, and the study of the phenomenon of radiation. The worldview of mankind was turned over by the creation of quantum theory (1900), special (1905) and general () theory of relativity. Previous ideas about the structure of the world were completely shaken. The idea of the knowability of the world, which was previously an infallible truth, was questioned.

Philosophical foundations of culture at the turn of the century: The main question is the question of Man and God. Without faith in God, a person will never find the meaning of existence. (F.M. Dostoevsky) Poetization of the image of Man: “Man - it sounds proud!” (M. Gorky) Russian thought echoed with the "gloomy German genius." (Alexander Blok). The philosophy of F. Nietzsche about the superman is “the will to reappraise.” (A. Bely) The superman is a common and incredibly distant perspective of humanity, which will find the meaning of its existence without God: “God is dead.”

Painting Strong positions were held by representatives of the Russian academic school and the heirs of the academic Wanderers The emergence of a new style - modern (followers of this style united in the creative society "World of Art") modern Symbolism in painting (the exhibition "Blue Rose", is closely connected with poetry; symbolism was not the only stylistic direction) Symbolism-medium The emergence of groupings representing the avant-garde trend in art (the exhibition "Jack of Diamonds"), the avant-garde favorite genre of avant-garde artists is still life Neo-primitivism (exhibition "Donkey's Tail") Neo-primitivism Author's style (synthesis of European avant-garde trends with Russian national traditions) Author's

The tragic history of literature of the 20th century 1. In the 20s, the writers who made up the color of Russian literature left or were expelled: I. Bunin, A. Kuprin, I. Shmelev and others. 2. The impact of censorship on literature: 1926 - the magazine " New World” with “The Tale of the Unextinguished Moon” by B. Pilnyak. In the 1930s the writer was shot. I.A. Bunin

Literature of the late 19th and early 20th centuries In the late 19th and early 20th centuries, Russian literature became aesthetically multilayered. Realism at the turn of the century remained a large-scale and influential literary movement. So, Tolstoy and Chekhov lived and worked in this era. (reflection of reality, life truth) A.P. Chekhov. Yalta

The transition from the era of classical Russian literature to the new literary time was accompanied by an unusually fast one. Russian poetry again entered the forefront of the country's general cultural life, unlike previous examples. Thus began a new poetic era, called the "poetic renaissance" or "silver age".

Modernism (from the French moderne - “newest”, “modern”) is a new phenomenon in literature and art. Its goal is the creation of a poetic culture that contributes to the spiritual revival of mankind, the transformation of the world by means of art. Symbolism (from the Greek symbolon - “sign, omen)” is a literary and artistic direction, which considered the goal of art to be an intuitive comprehension of world unity through symbols. Existentialism is a worldview that raised questions about how a person should live in the face of impending historical catastrophes, based on the principle of the opposition of subject and object.

The ideological foundations of realism and modernism The ideological foundation of realism The philosophy of modernism in the XX century. Truth is One, good overcomes evil, God overcomes the devil. The world is not cognizable, a person is not able to separate good from evil. Hero Seeking the path to higher, eternal values, carrying the ideals of goodness, love. Complex, contradictory, standing out from the rest of the world, often opposing it. Highest values Spiritual, Christian ideals Personality in its diversity Purpose of art Harmonization of life Expressing oneself and one's understanding of the world and man.

The fundamental principles of the old realists adopted by the new ones Democracy is the rejection of elitist literature, understandable only to a "bunch" of the initiated. Taste for the public - awareness of the public role and responsibility of the writer. Historicism: art is a reflection of an era, its truthful mirror. Traditionalism is a spiritual and aesthetic connection with the precepts of the classics. Tolstoy Lev Nikolaevich Chekhov Anton Pavlovich

Writers - realists Bunin Ivan Alekseevich Kuprin Alexander Ivanovich Zaitsev Boris Konstantinovich Veresaev Vikenty Vikentievich

Realist writers Maxim Gorky Korolenko Vladimir Galaktionovich Andreev Leonid Nikolaevich Zamyatin Evgeny Ivanovich

The Silver Age The Silver Age is part of the artistic culture of Russia in the late 19th and early 20th centuries, associated with symbolism, acmeism, "neo-peasant" literature, and partly futurism.

SYMBOLISM In March 1894, a collection entitled "Russian Symbolists" was published. After some time, two more issues with the same name appeared. The author of all three collections was the young poet Valery Bryusov, who used various pseudonyms in order to create the impression of the existence of a whole poetic movement.

The main provisions of the current The symbol is polysemantic: it contains an infinite number of meanings. "A symbol is a window to infinity," said Fyodor Sologub.

The main provisions of the current were built in a new way in the symbolism of the relationship between the poet and his audience. The symbolist poet did not seek to be universally intelligible. He did not address everyone, but only the "initiates", not the reader-consumer, but the reader-creator, the reader-co-author. Symbolist lyrics awakened the "sixth sense" in a person, sharpened and refined his perception. To do this, the Symbolists sought to make the most of the associative possibilities of the word, turned to the motives and images of different cultures.

Senior Symbolists Gippius Zinaida Nikolaevna Balmont Konstantin Dmitrievich Fyodor Sologub Kuzmin Mikhail Alekseevich

The Young Symbolists "The ultimate goal of art is the re-creation of life." (A. Blok) Andrey Bely Alexander Alexandrovich Blok Ivanov Vyacheslav Ivanovich

Acmeism The literary movement of acmeism arose in the early 1910s. (from the Greek acme - the highest degree of something, flourishing, peak, point). A narrower and more aesthetically more cohesive group of acmeists stood out from a wide circle of participants in the "Workshop": N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam, M. Zenkevich and V. Narbut.

Acmeists Akhmatova Anna Andreevna Mandelstam Osip Emilievich Gumilyov Nikolay Stepanovich Sergey Gorodetsky

Futurism Futurism (from lat. futurum - future). He first announced himself in Italy. The time of birth of Russian futurism is considered to be 1910, when the first futuristic collection "The Garden of Judges" was published (its authors were D. Burliuk, V. Khlebnikov, V. Kamensky). Together with V. Mayakovsky and A. Kruchenykh, these poets soon formed a grouping of cubo-futurists, or poets of "Gilea"
The main provisions of the current As an artistic program, the futurists put forward a utopian dream of the birth of a super-art capable of turning the world upside down. The artist V. Tatlin seriously designed wings for humans, K. Malevich developed projects for satellite cities plying in the earth's orbit, V. Khlebnikov tried to offer humanity a new universal language and discover the "laws of time".

In futurism, a kind of shocking repertoire has developed. Biting names were used: "Chukuryuk" - for the picture; "Dead Moon" - for a collection of works; "Go to hell!" - for a literary manifesto.

Neo-peasant poets We are early morning clouds, dewy spring dawns. N. Gumilyov Yesenin Sergey Alexandrovich Oreshin Pyotr Vasilyevich Klyuev Nikolai Alekseevich

Writers who were not members of literary groups Maximilian Aleksandrovich Voloshin Boris Leonidovich Pasternak Vladislav Felitsianovich Khodasevich Marina Ivanovna Tsvetaeva

Let's draw conclusions At the turn of the century, Russian literature flourished, comparable in brightness and variety of talents with the brilliant beginning of the 19th century. This is a period of intensive development of philosophical thought, fine arts, stage skills. There are various trends in the literature. In the period from 1890 to 1917, three literary movements, symbolism, acmeism and futurism, were especially pronounced, which formed the basis of modernism as a literary movement. The literature of the Silver Age showed a brilliant constellation of bright poetic individuals, each of which was a huge creative layer that enriched not only Russian, but also world poetry of the 20th century.

Let's draw conclusions The last years of the 19th century became a turning point for Russian and Western cultures. Starting from the thirteenth century and until the October Revolution of 1917, literally all aspects of Russian life changed, from the economy, politics and science, to technology, culture and art. The new stage of historical and cultural development was incredibly dynamic and, at the same time, extremely dramatic. It can be said that Russia, at a critical time for it, was ahead of other countries in terms of the pace and depth of changes, as well as the colossal nature of internal conflicts.

Questions: What major historical events took place in Russia at the turn of the century? What philosophical ideas occupied the minds of mankind? Who introduced the definition of "Silver Age"? What trends existed in the literature of the turn of the century? What traditions were developed by realist writers at the beginning of the 20th century? What does the term "modernism" mean? What is meant by the term "Party Literature"? Name the representatives of the Silver Age.

“By the beginning of the 20th century, Russia had become the focal point of the contradictions of the entire system of imperialism, its weakest link,” the first Russian revolution was “prepared for by the entire course of the socio-economic and political development of the country.”

Its global significance was quickly understood. On January 25, Jean Jaures wrote in the newspaper L'Humanité that the Russian people were fighting not only for themselves, but also for the cause of the international proletariat, and after the All-Russian October strike, Anatole France spoke at a rally in Paris with the words: "Whatever the outcome During this great and terrible struggle, the Russian revolutionaries had a decisive influence on the fate of their country and the fate of the whole world. The Russian revolution is a world revolution. The Russian proletariat entered the historical arena, becoming the vanguard of the world socialist movement.

The revolution was suppressed, but the heroism of the battles of the Russian people not only attracted the attention of the international community, but also had a great influence on the revival of the political struggle in Europe and the awakening of the social struggle of the East.

Writers of the second half of the 19th century complained about the difficulty of depicting the deep processes of life due to its rapid changes. But what was all this in comparison with the development of life in two decades of the twentieth century. Literature of the 90s spoke of awakening the consciousness of the masses. In 1905 the people had already loudly declared their forfeited rights.

Three revolutions in 13 years! No other country knows such a revolutionary upsurge, such rapid changes in political and social life, in the psychology of the people, which required an enormous effort of will, mind and courage.

During the years of the revolution, the innovation of M. Gorky's creativity was especially significant. The fact that it does not fit into the framework of the old realism, criticism wrote already at the very beginning of the 1900s. The novel "Mother" and the play "Enemies" impressively revealed the main trends in the development of revolutionary Russia and showed who is the true creator of modern history. It was realism inspired by the socialist ideal, realism calling for the construction of a new society on socialist foundations.

Literary critics have not yet come to a consensus about which work of Gorky laid the foundation for a new creative method, later called socialist realism. The fundamental features of this method are present both in the play "Petty Bourgeois" (the choice of the central character) and in the play "At the Bottom" (disclosure of Gorky's attitude to man and his idea of false and true humanism).

One can also recall Foma Gordeev, where the innovative features of Gorky's psychologism were first displayed. However, Gorky spoke most clearly as a new type of realist, as a Marxist writer, precisely in Mother and Enemies. The revolution of 1905 was the stimulus that allowed Gorky the artist to fuse together what he had previously obtained. "Mother" opened a new page in the history of world literature.

For propaganda purposes, the revolutionaries widely used the works of foreign authors devoted to the working class in workers' circles. Now the Russian writer has created a novel that has become a reference book for the domestic and foreign proletariat. “Maxim Gorky,” wrote V. Lvov-Rogachevsky, who joined the Marxist camp of criticism, “is a symbol, this is the name of an entire era marked by Gorky’s mood.”

Significant events in the literary life of the revolutionary years include the appearance of V. I. Lenin's article "Party Organization and Party Literature" (1905), which raised the question of modern literature.

Speaking about the impossibility of a writer to remain neutral in a class society (the myth of a free creator not subject to the pressure of this society collapsed), the article called on writers to openly take the side of the awakening people and give their pen to the service of party art, advocating high socialist ideals. At the same time, Lenin explained that the principle of party membership does not limit the creative possibilities and inclinations of the authors.

The article drew attention to the most urgent problem of the time - the growing number of readers from the people, "who make up the color of the country, its strength, its future", and the writer should have worked for them.

In the 19th century more than once there were disputes about "pure" and "tendentious" art, about the personal position of the artist, free or biased. Lenin's article continued this dispute in new historical conditions. Thus, it is organically connected with the tradition of revolutionary-democratic criticism, which has always advocated active art, inextricably linked with popular life and advanced social ideas.

Written on the eve of the December battles of the proletariat in Moscow, Lenin's article translated long-standing disputes into the field of judgments about the writer as a fighter of a certain socio-political camp, as a spokesman for the modern aspirations of the people, and thus gave this problem a different social orientation and scale.

Lenin's article caused a great resonance. Marxist criticism adopted it (see A. V. Lunacharsky's article "The Tasks of Social-Democratic Artistic Creation"). In 1906, the newspaper Svoboda i Zhizn (Nos. 11-13) published conflicting responses from writers of dissimilar social orientations to the proposed questionnaire Literature and Revolution; these answers were essentially responses to Lenin's speech.

This performance was irritated by the Symbolists, who especially intensively glorified self-sufficing individualism in their early work. Bryusov immediately appeared in the journal Scales (1905, No. 11) with a polemical article aimed at defending the artist's independent position.

In an indirect form, such responses appeared in the critical articles of the same Libra; they argued that party art entails a decline in talent, that party spirit and aesthetics are incompatible concepts. And if A. V. Lunacharsky, relying on Gorky’s new works, says in 1907 that an innovative type of socialist literature has arisen, then the critic of the Symbolist camp D. Filosofov will publish the article “The End of Gorky” in the same year.

Responses to the questions raised in Lenin's article can also be found in a number of works of art ("The Last Martyrs" by Bryusov, "The Spirit of the Times" by A. Verbitskaya).

Pre-October realistic literature was not yet able to become an organic part of the proletarian cause (the only exception was the work of Gorky, Serafimovich, and proletarian poets), but many of its representatives were actively involved in the struggle against the autocracy and the bourgeoisie.

During the period of the revolution, the work of writers grouped around the Znanie publishing house, headed by Gorky, attracted general attention. The Znanievites wrote about the breaking of the old worldview, about the rebellion of a person and the growth of his social activity, about the aggravation of conflicts in all areas of life.

They were not only witnesses, but also chroniclers of the time when it was no longer individuals, but huge masses of people, who were beginning to see socially. The Znanievites were the first to depict this process, so complex and unusual for Russian reality.

Depending on their ideological positions, modern critics called Znanievsky realism, perceived by them as a special realist movement, as "Gorky's school" - "combatant", "red" or "directive".

Some noted the innovation of the Znanievites, emphasizing, however, the insufficient artistic depth of their discoveries; others believed that rhetoric and publicism obscure their artistic beginning. There were many who did not accept the ideological essence of Znaniew's creativity. But in general, criticism was forced to recognize the enormous popularity of the Collections of the Knowledge Association.

Other realists also turned their attention to the phenomena born of the revolution, but they paid their attention mainly to the negative phenomena that accompanied the revolutionary process.

The revolution of 1905 brought to life a mass of sharp satirical magazines. For the first time in the history of Russian satirical periodicals, a kind of “pictorial journalism” (political drawings and illustrations) appeared on their pages.

After the revolution, the "turmoil" of the era became even more aggravated. The reigning reaction again causes a wave of disappointment, pessimism, disbelief in the strength of the people, in the possibility of an early change in the fate of Russia. Again, with even greater force, a passion for idealistic philosophy flares up, religious quests come to life. There is an outbreak of neo-populist ideas, which penetrated, in particular, into the circle of symbolists, and neo-Slavophilism.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

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