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Features of the development of poetry in the 1930s. Russian Federation Federal State Budgetary Educational Institution of Higher Education "Tyumen Industrial University

Despite the totalitarian control of the state in all spheres cultural development society, the art of the USSR in the 30s of the 20th century did not lag behind the world trends of that time. The introduction of technological progress, as well as new trends from the West, contributed to the flourishing of literature, music, theater and cinema.

A distinctive feature of the Soviet literary process of this period was the confrontation of writers into two opposite groups: some writers supported Stalin's policy and glorified the world socialist revolution, while others opposed the authoritarian regime in every possible way and condemned the leader's inhumane policy.

Russian literature of the 30s experienced its second heyday, and entered the history of world literature as the period of the Silver Age. At that time, unsurpassed masters of the word worked: A. Akhmatova, K. Balmont, V. Bryusov, M. Tsvetaeva, V. Mayakovsky.

My literary force Russian prose also showed: the works of I. Bunin, V. Nabokov, M. Bulgakov, A. Kuprin, I. Ilf and E. Petrov have firmly entered the guild of world literary treasures. Literature during this period reflected the fullness of the realities of state and public life.

The works covered those issues that worried the public at that unpredictable time. Many Russian writers were forced to flee from the totalitarian persecution of the authorities to other states, however, they did not interrupt their writing activities abroad either.

In the 30s soviet theater was going through a period of decline. First of all, the theater was considered as the main instrument of ideological propaganda. Chekhov's immortal productions were eventually replaced by pseudo-realistic performances glorifying the leader and the communist party.

Outstanding actors who tried in every possible way to preserve the originality of the Russian theater were subjected to severe repressions by the father of the Soviet people, among them V. Kachalov, N. Cherkasov, I. Moskvin, M. Yermolova. The same fate befell the talented director V. Meyerhold, who created his own theater school, which was a worthy competition of the progressive west.

With the development of radio, the century of the birth of pop music. The songs that were broadcast on the radio and recorded on records became available to a wide audience of listeners. Mass song in the Soviet Union was represented by the works of D. Shostakovich, I. Dunaevsky, I. Yuriev, V. Kozin.

The Soviet government completely denied the jazz direction, which was popular in Europe and the USA (this is how the work of L. Utesov, the first Russian jazz performer, was ignored in the USSR). Instead welcomed musical works who glorified the socialist system and inspired the nation to work and exploits in the name of the great revolution.

Cinematography in the USSR

The masters of Soviet cinema of this period were able to achieve significant heights in the development of this art form. A huge contribution to the development of cinema was made by D. Vetrov, G. Alexandrov, A. Dovzhenko. Unsurpassed actresses - Lyubov Orlova, Rina Zelenaya, Faina Ranevskaya - became the symbol of Soviet cinema.

Many films, as well as other works of art, served the propaganda purposes of the Bolsheviks. But still, thanks to the skill of acting, the introduction of sound, high-quality scenery, Soviet films in our time cause genuine admiration of contemporaries. Such tapes as "Merry Fellows", "Spring", "Foundling" and "Earth" - have become a real asset of Soviet cinema.

3. The originality of the literary process in the 1920s - 1930s. Trends. patterns

The uniqueness of the literature lies in the fact that after 1917 it was divided into 3 streams: Soviet (official), Russian abroad, "detained" (unofficial). Their artistic principles are different, but the themes are common.

The poets of the Silver Age determined the face of literature.

There are 2 main trends that have set the tone for literature since the revolution itself.

From the beginning of the 1920s. the cultural self-impoverishment of Russia begins. 1921 is a very significant year: Blok and Gumilyov die. In 1922, the fifth and last poetic book by Akhmatova was published (in its entirety as a separate edition). Poets and writers are expelled from the country (Tsvetaeva, Khodasevich, Georgy Ivanov, Shmelev, Zaitsev, Osorgin, Gorky (temporarily)).

In 1922 - the August pogrom, a signal for the beginning of mass persecution of culture. Magazines are closed. 1924 - The Russian Contemporary is closed.

1958 - B. Pasternak's exclusion from the Writers' Union.

The milestone character of the early 1920s is obvious.

Two important factors of self-impoverishment are:

Social order (not a synonym for administrative position). At first it was about the necessity / uselessness of creativity. Nr: Mayakovsky introduced a social order into his poetry, but then he began to develop according to his own laws.

For the social order, they sought to find the most adequate normative forms. The desire to create a model, a starting point - Furmanov ("Iron Stream"), Fadeev ("Defeat"). These were examples of how to write in the 1920s.

But the social order was also a great limitation on the development of literature.

It was important to clearly contrast "they" and "we". Or speak out against enemies new government or show loyalty to her. Highly recommended topics (recent past and present) were suggested. Departure from these topics began to be perceived as sabotage. There was a demand for accessibility (an indispensable appeal not to a reader brought up on classical literature, but to a reader who had not been one at all before).

Zoshchenko - the genre of the tale (compliance with all three conditions).

The Rooting of the Stalin Theme in Literature. The cult syndrome is generally an important feature of Soviet literature and mass consciousness. Pasternak saw in Stalin the embodiment of world historical energy.

Young Bulgakov writes a play about Stalin's youth.

All these works were written voluntarily. But: Mandelstam was forced to write an ode to Stalin; Akhmatova, in order to save her son, in 1950 wrote the cycle “Glory to the World”.

The 3 branches of the RL are united not only by their belonging to Russian literature, but also by the fact that they are all innovative. This is new literature, literature of the twentieth century. not only by the time of creation. It is more diverse than the classics of the 19th century.

The main question of Soviet literature is the relation of the new art to the new reality. How to combine artistic thinking with practical life creation? The search for an answer to this question occupied the entire 1920s and partly the 1930s. The answers were different, groups appeared. The main sign of the time is the existence and struggle of numerous groups.

The largest and most influential association was Proletkult (1917-20). He affirmed the need to create a special, proletarian art, which would be isolated from cultural experience and traditions. They believed that genuine proletarian works could only be created by a genuine proletarian writer (the origin was important). But the priority of this art was asserted aggressively, they did not recognize a different point of view.

The ideas of the Proletcult were picked up by a group called the Forge (1920-22), a more moderate group of proletarian writers, mostly romantic poets. They were also against the Bolsheviks, they criticized the NEP (betrayal of the world revolution).

In 1922, another group of proletarian writers appeared - "October". It is from her that the history of the most cruel direction for the RL begins - RAPP (Russian Association of Proletarian Writers) (1924-32). RAPP took into account the miscalculations of its predecessors and in every way emphasized devotion to the cause of the Bolsheviks, while not denying the possibility of studying with the classics. The RAPP did not claim absolute leadership. RAPP leaders: Lev Averbakh (critic), writers A. Fadeev, Yu. Lebedinsky, V. Kirshon. They fought for the class purity of art. They were named by the researcher of the twentieth century. S.I. Sheshukov "frantic zealots".

In addition to these groups, there were associations of "fellow travelers". The first is The Serapion Brothers (a cycle of short stories by Hoffmann) (1921-25). Authors: Lev Lunts, Veniamin Kaverin, N. Tikhonov, K. Fedin, M. Zoshchenko. They sympathized with the revolution, but insisted on the freedom of creative choice.

Another group - "LEF" (left front of art) (1923-28). Associated with the name of Mayakovsky; the grouping "Pass" (1925-32) united around the editorial office of the magazine "Krasnaya nov", the head - A. Voronsky. The position of the LEF was replete with dark projects: they wanted to turn socialism into a huge production machine and man into a "standardized activist." The Perevaltsy opposed these views and fought for a harmonious personality and for the writer's right to be himself, for the right to choose.

These disputes took over cultural space 1920s

In the late 1920s in Russia there was censorship. The persecution began. The first two actions concerned Pilnyak and Zamyatin. These campaigns were supposed to show the proper line of conduct.

Writers protested: Gorky, Platonov, Y. Olesha, Bulgakov, and so on. They tried to protect the creative line of behavior and persecuted writers.

All attempts to warn society were doomed to failure, because. Goals were set and needed to be achieved.

In 1932, all literary groups were to cease to exist. Preparations began for the first congress of Russian writers, which took place in 1934 under the leadership of Gorky. All Soviet literature was united in the Writers' Union. The program and charter were adopted. Socialist realism is the only possible way of depicting life. Social realism is a truthful, historically concrete depiction of reality in its revolutionary development. These included historical optimism, nationality, partisanship - the foundations of the new method.

After the emergence and approval of social realism, it was necessary to find a program work. They declared Gorky's novel "Mother", and Gorky was declared the founder of socialist realism.

From the beginning of the 1930s socialist realism began to turn into outright normativism, illustrating political slogans.

In the late 1980s one of the main discussions is about who should be considered classics today. They even tried to define a classic. Bocharov: a writer with a “developed epic worldview” who created a “holistic and voluminous artistic world” can be recognized as a classic. But it led to the absence of 2/3 of the corpus of Russian literature.

Many new magazines are opened: Krasnaya Nov, Print and Revolution, Young Guard, On Post, Novy Mir ... Many literary associations arise: imagists, constructivists, expressionists,

Workers, Red Army soldiers, peasants, political workers strive to tell in literature about the revolutions and civil war they experienced.

In the mid-1920s, the delimitation of writers who began their activities before the age of 19 was completed. Some accept the new government and cooperate with it (Serafimovich, Mayakovsky, Bryusov). Others take an irreconcilable hostile position and leave Russia (Merezhkovsky, Gippius, Khodasevich). Zamyatin tried to work in the new conditions, but in 1931 he had to emigrate. A. Tolstoy left in 1919, but returned a few years later. Since the mid-20s, the visible creative activity of Akhmatova, Tsvetaeva, Mandelstam, Khlebnikov, Pasternak, Klyuev, Oreshin has been declining. In 1925, a resolution "On the policy of the party and the field of fiction" was adopted, which resulted in severe ideological restrictions.

By the mid-20s, 3 main opposing forces were identified: RAPP, "Pass" and fellow travelers.

The Russian Association of Proletarian Writers focuses on the work of writers-workers, a mass organization. Vulgar sociologism and dogmatism, conceit and arrogance. Fellow travelers are writers who collaborated with the new government, but do not come from the proletarian and peasant strata and "have not mastered the communist ideology"

"Pass". Head - Voronsky. Understanding the new thin. Literature as the heiress of the best traditions of Russian and world literature. Objective thin. Reproduction of reality, humanism, the importance of intuition in the creative process, The main object of attention is the events of the revolution and civil war.

Activity in all types and genres of creativity. Search for new ways and forms. Variety of expressions and visual means. Time for the Great Experiment.

On the verge between realism and naturalism. The use of the grotesque and fantasy. Strong lyric-romantic element. modernist tendencies. The dystopian genre is resurgent. New trends: replacing "I" with "we", in the foreground - the image of the masses. Analysis of the relationship between the hero and the masses. The inner world of the character fades into the background. Spiritual life is deformed: restriction of freedom of religion, persecution of dissidents, terror, disregard for humanistic values, justification of cruelty. In prose, the story, short story, essay (small forms) flourished the most, the beginning of work on epic novels.

Drama combines psychologism, grotesque, pathos and lyrics.

In the early 1930s, socialist realism was declared the main method. Criticism of the lyric-romantic beginning in literature.

Double standards in the evaluation of literature: true, traditional, aesthetic and imaginary, adapted to momentary ideological requirements.

By the beginning of the 1930s, a small number of groups remained. 34 - All-Union Congress of Soviet Writers. Proclaims social realism the main method of literature. Orientation to the sociological coverage of reality. The range of figurative and expressive means is impoverished. The process of language averaging. Lyrics, satire, fantasy disappear. In the 30s, the epic beginning prevailed in all types of creativity, a craving for large-scale canvases. Activation of essay literature and journalism. “The main character of the books” is labor, the development of “production genres”. The genre of mass song is developing. A story in verse, a plot epic poem, is developing.

After 17 years, the literature was divided into 3 streams:

Soviet literature

Russian Literature Abroad

Literature delayed

2 main trends: 1) the cultural self-impoverishment of Russia is intensifying (21 years - Blok dies, Gumilyov is shot. Akhmatova's last book is published in 22. Intelligents are expelled from the country: Tsvetaeva, Khodasevich, Ivanov, etc. The first cultural pogrom - magazines are closed). 2) boundary character.

Factors 1: social order - a sense of the need / uselessness of creativity - the desire to create a model. It was important to oppose THEM and WE, to speak out against the enemies of the new government or a loyal attitude towards the new government itself. There were suggested topics. Accessibility requirement (n: Zoshchenko).

2: the rooting of the theme of Stalin in literature (n: Pasternak, Zoshchenko, Bulgakov).

This is innovative literature.

After the revolution of 1917, many different literary groups appeared throughout the country. Many of them appeared and disappeared without even having time to leave behind any noticeable trace. Only in Moscow in 1920 there were more than 30 literary groups and associations. Often, the individuals who were part of these groups were far from art (for example, the Nichevoki group, which proclaimed: "Our goal is to thin the poet's work in the name of nothing"). The reasons for the emergence of numerous and diverse literary groups: usually material and everyday ones come to the fore.

1917 - 20s – proletarian cult: asserted the need to create proletarian art. Only a proletarian writer can create proletarian art.

Smithy (20 - 22 years) - a more moderate group of writers. The Bolsheviks were criticized for the NEP.

October (22) → the RAPP direction begins (24 - 32) - emphasized devotion to the Bolsheviks, but studied with the classics. Leader: Lev Averbakh + A. Fadeev, Yu. Lebedinsky, V. Kershon. RAPP - Ross, an association of proletarian writers (founded in 1922). And Serafimovich, and Elokhov (although he did not work there), historians of the 20s, critics: Averbakh L., Milevich G., Lebedinsky Yu., prose writers: A. Vesely, A. Sokolov, A. A. Fadeev, D. Furmanov; poets: Zharov A. Bezymensky A., Dorokoychenko A. At the magazine "Young Guard". In the 23rd year - "October", "On the post" (since 1923 - "On the lit. post"). The task is to protect the borders proletarian culture. Proletarian culture is created by proletarians by origin and way of life. They came up with a division of l-ry into peasant, proletarian and intelligent ("fellow travelers" - those who "stand firmly on the platform of Soviet power"). Heads, activities - recruiting new writers, enemies and targets (with whom the struggle was fought) into their ranks.

Fellow travelers: Serapion brothers (21-25 years) (serapions) - L. Lunts, V. Kaverin, N. Tikhonov, M. Zoshchenko. They insisted on freedom of creative choice.

LEF (Left front of art) (23 - 28 years) - included V. Mayakovsky, B. Arvatov, V. Kamensky, B. Pasternak, N. Aseev, V. Shklovsky, O. Brik, S. Kirsanov, S. Tretyakov , N. Chuzhak. Film directors - S. Eisenstein, D. Vertov (Esfir Shubb -?), artists: Rochenko, Lavinsky, Stepanova were close to LEF, arousing great interest among Lef writers. Magazine "New LEF". Real revolutionary. is-va, about the introduction of is-va into the daily life of the new state-va Is-va must fulfill a number of purely practical. tasks. Emotion impact on the audience - to complete tasks. Lefovtsy insisted that the new state should use all the best. All innovative ideas must be executed. LEF founded many high-quality, but curious texts (to order) - for: putting people into working condition. They thought that the psychological prose leads into the world of unnecessary fantasies. Prose should be short. In con. 20s the state went against the LEF - everything is achieved by emergency, and not by the scientific organization of labor

Pass (25 - 32 years) - around the magazine "Kraseaya Nov". Alexey Varonsky.

The LCC group - spun off (constructivists). Lit. the center of constructivists: the state must be functional, the development of new methods of l-ry; l-ra should become a chronicler of the era, should capture the speech of the era (it is different for different classes). In the 30th year, the group ceased to exist as having completed its task.

32 - all literary groups were disbanded. Preparing for the first congress Soviet writers(34) under the leadership of Gorky => common union writers (social realism - a method of depicting life). Gorky's novel "Mother" was the first.

Early 30s. – social realism → normativism.

Russian literature of the 1930s–1940s General characteristics of the 1930s: the inconsistency and tragedy of social literary life. Participation of writers in the construction of socialism. Formation in the USSR of administrative-state socialism, the Stalinist regime and the impact of these phenomena on the literary process. Decree of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations” (1932). First All-Union Congress of Soviet Writers (1934). Formation of the SP Union and its significance. Genesis, political and aesthetic principles of socialist realism. Repressions of the 1930s and the personal fate of writers. Prohibition of a number of works (A. Platonov, M. Bulgakov, L. Leonov, etc.)

Leading (officially recognized) themes, problems of this period. "Strange prose" (D. Kharms, L. Dobychin, K. Vaginov). "Secret Literature" ("Requiem" by A. Akhmatova). Characteristic individual works prose, poetry, drama (at the choice of the examiner).

Epic novel by M. Sholokhov "Quiet Flows the Don". Traditions of oral folk art and Russian classics, realism, humanism, epic as the main artistic principles of Mikhail Sholokhov (1905-1984).

Place of the collection "Don stories" in the short stories of the 1920s. and creativity of the writer. Type of conflict and characterology. Tragic and humanistic pathos of stories. Conceptual and stylistic connection of "Don stories" with the novel "Quiet Flows the Don".

Creative history and the problem of the authorship of The Quiet Flows the Don. The people and the revolution, the problem of social justice. Cataclysms of social history and the stability of the traditions of the Cossack work and life. "The fate of man" and "the fate of the people": socio-historical and eternal in destinies and characters. Melekhov family. Grigory Melekhov as a tragic character. The reasons for his tragedy and the psychological depth of its disclosure. Female images in the epic (Ilyinichna, Natalya, Aksinya, Daria, Dunyashka). The peculiarity of the genre. folk basis language, the element of oral folk art. Functions of pictures of nature. Symbolism. Traditions of Russian classics and innovation of the writer of the XX century. The global significance of the novel.

Stages of creativity L. Leonov. Traditions of philosophical prose of the 19th century. in the formation of the creative individuality of Leonid Leonov (1899-1994). Problems of short stories in the 1920s. The novel "Badgers": a socio-moral concept. Features of composition, language and style.

The novel "The Thief". Tragic contradictions in the character of Dmitry Vekshin. The system of "twins" in the novel. The polyphony of the work. The concept of culture and civilization.

"Sot" as a socio-philosophical novel. The inconsistency of the process of transformation of man, society, nature.

Philosophical problems and symbolism of the novel "Skutarevsky". The problem of interaction between rational and emotional, science and art, youth, beauty. The intertextuality of the work.

"Road to the Ocean" as a socio-philosophical novel about the fate of mankind and culture. Multidimensionality of concrete historical and philosophical content.

Creativity L. Leonov during the Great Patriotic War.

Social and everyday, aesthetic, philosophical and symbolic aspects of the content of the novel "Russian Forest". Problems, system of images, composition. Philosophical meaning of the image of the Russian forest.

"Evgenia Ivanovna" - a story about the fate of Russia and emigration, the Motherland and foreign land. The originality of the solution to the problem of nostalgia. System of images: Evgenia Ivanovna - Stratonov - Pickering. Mastery of psychological analysis. Subtext and chronotope of the story.

Global-philosophical comprehension of a bygone era in the "hyper-philosophical" novel "Pyramid".

Literary fate of M. Bulgakov. Formation of social and moral position and creative individuality Mikhail Bulgakov(1891-1940) . The beginning of literary activity. "Notes of a young doctor": pictures of provincial life and the drama of the fate of an intellectual.

Satirical stories of the 20s: "Diaboliad", " Fatal eggs", "Dog's heart". Grotesque and fantastic plot as a means of expressing the social and moral position of the writer in assessing post-revolutionary reality.

The novel "White Guard". Symbolic and philosophical image of historical doom white movement. Biblical motives as a way to comprehend the revolutionary rift. The fate of the Russian intelligentsia and culture. The tragedy of the loss of home and the collapse of the Turbin family. Correlation between the novel and the play "Days of the Turbins".

Dramaturgy of Bulgakov in the late 1920s–1930s. Philosophical play in dreams "Running". The complexity and inconsistency of the socio-philosophical concept of the revolution. Apocalypse motives. Image of the Russian emigration: Khludov, Charnota, Korzukhin, Lyuska and others. The fate of the intelligentsia (Golubkov, Serafima). The tragedy of the artist in the plays "The Cabal of the Saints" ("Molière"), " Last days"("Pushkin"). Comedy "Ivan Vasilievich changes his profession", "Batum".

Philosophical novel "The Master and Margarita". Features of its philosophical and historical concept and structure. Grotesque realism in the depiction of Woland and his retinue, their place in the ideological and artistic structure of the novel. Satirical depiction of the literary and philistine environment of the 1920s-1930s. Concrete-historical and fantastic in the fate of Ivan Bezdomny. The image of the Master and his fate. Philosophical and moral problems of the image of a creative personality. Image of Margaret. Philosophy of love and eternal femininity in the novel. The novel about Pontius Pilate and its place in the structure of the work. Evangelical and Faustian motifs. Romance and gospel myth. The main philosophical antinomies of the novel are: fear and fearlessness, life and death, light and peace, good and evil. Internal inconsistency characters and the ending of the work. originality artistic method and poetics of the novel.

Contribution of M.A. Bulgakov in domestic and world literature.

The phenomenon of A. Platonov. Andrey Platonov (1899-1951) - an outstanding Russian artist of the word, a master of philosophical prose. The beginning of the creative path. early publicity. The first collections of short stories and novels. The novelty of the disclosure of personality in the story "The Secret Man". The image of Pukhov and his place in the artistic world of A. Platonov.

Satire A. Platonov ("City of Gradov"). Image of the relationship between the individual and the state. Study of the "philosophy" of bureaucracy in the story "City of Gradov". The author's concept and the illusory happy ending of the story "Doubting Makar".

"Chevengur" is a novel about the fate of the revolution. Creative history. Perception of the events of the recent past in the light of the "great turning point". The main images (Alexander and Prokofy Dvanov, Kopenkin, Chepurny). The peculiarity of the reflection in the novel of the socio-political life of the country that has embarked on the path of socialism. The collapse of the Chevengur utopia and its causes. The theme of "others", its role in the concept of the work. The openness of the novel's ending and disputes over its interpretation. Genre and style features of "Chevengur" as philosophical novel. Mytho-folklore foundations of its structure. Traditions of popular social utopia and utopian socialism. Platonic grotesque and originality of language.

Socio-philosophical story "The Pit". Class and universal as the main conflict of the work. The image of Voshchev and his role in revealing the philosophical concept of the story. The image of Chiklin and the problem of relations between the working class, the peasantry, and the intelligentsia. originality author's position. Irony and grotesque in the image of the "maximum class" - the bureaucratic stratum (Pashkin, Sofronov, village activist, etc.). The symbolism of the image of Nastya and the author's commentary on it.

Creative searches of Platonov in the 1930s. (the story "The Juvenile Sea", the mystery story "Jan") and during the Great Patriotic War (the stories "Spiritual people", "Mother", "The Rose Girl", etc.), the reconstruction of the drama of the post-war destinies of the people ("Return") . A. Platonov's contribution to the development of Russian literature.

Man and nature in the philosophical prose of M. Prishvin. Features of the artistic worldview of Mikhail Prishvin (1873-1954). The origins of creativity. Philosophical and moral quests.

Folklore and ethnographic motifs in essay books of the 1900s: “In the land of fearless birds”, “Behind the magic bun”, “Black Arab”. Synthesis of artistic and scientific thinking. Rapprochement with modernist writers. Attitude to the First World War and the February Revolution.

Journalism, diaries, autobiographical prose: "Kashcheev's Chain", "Mirskaya Chalice". originality lyrical hero. “Kindly attention” to nature in the book “Springs of Berendey”. Mythological and fairy-tale motifs in the ideological and artistic structure of works. The problem of creativity. Duality of storytelling. The theme of nature in the works of the writer of the 1930-1940s.

M. Prishvin is a master of lyrical and philosophical prose. The concept of the relationship between man and nature in the story "Gen-Shen". The search for the meaning of life, the optimism of the Prishvin worldview. Mythological and philosophical symbolism of the story. Dramatic image of the lyrical hero. The theme of love and eternal femininity. The image of the sage Louvain. Cycle of poetic miniatures "Phacelia". Features of the plot and composition.

The search for truth and happiness in the ideological and artistic concept of the works ("Pantry of the Sun", etc.)

Cultural and educational activities of M. Prishvin. Creative laboratory of the writer in the books "Crane Homeland", "Eyes of the Earth". Reflection of the tragic contradictions of life in the "Diaries".

Literature of the period of the Great Patriotic War.

Poetry. The theme of the Motherland and the people, nature and history, heroism, humanism, the fight against fascism, the protection of culture and civilization and the peculiarities of its poetic embodiment in the lyrics of A. Akhmatova, B. Pasternak, K. Simonov, A. Surkov, N. Tikhonov, A. Prokofiev, A. Tvardovsky, M. Svetlov and others. Song creativity (M. Isakovsky, V. Lebedev-Kumach, A. Fatyanov and others). Lyrics of the front generation(S. Gudzenko, M. Dudin, S. Narovchatov and others) and poets who died in the war (P. Kogan, M. Kulchitsky, A. Lebedev, G. Suvorov). Poetic satire(D. Bedny, S. Marshak, S. Mikhalkov). Genre-style variety of poems (N. Tikhonov, O. Bergholz, V. Inber, M. Aliger, P. Antokolsky).

A. Tvardovsky's poem "Vasily Terkin". Creative history. The pathos of the "bitter truth" in the pictures of war and labor. The originality of the genre of the poem as a heroic epic. Collectivity of the image of her hero. Composition "Books about a fighter." Place and role of the lyrical hero.

Prose. Development of small genres. Essays and stories (L. Sobolev, A. Tolstoy, N. Tikhonov, I. Ehrenburg, B. Gorbatov, A. Fadeev, M. Sholokhov, L. Leonov, A. Platonov, V. Kozhevnikov). The tendency to their cyclization.

Generalized poetic(“The people are immortal” by V. Grossman, “Rainbow” by V. Vasilevskaya, “Unconquered” by B. Gorbatov) and specific analytical(“Volokolamskoye Highway” by A. Beck, “Days and Nights” by K. Simonov) tendencies in the prose of the war years. The experience of epic coverage of the war (“They fought for the Motherland” by M. Sholokhov, “The Young Guard” by A. Fadeev).

Dramaturgy. Genre and style features of wartime plays (“Russian People” by K. Simonov, “Lenushka”, “Invasion” by L. Leonov, “Front” by A. Korneichuk). Philosophical fairy tale by E. Schwartz "Dragon". Exposure of the totalitarian regime, militaristic ideology and psychology. Comprehension of the mechanism of spiritual enslavement of man. Features of building conflicts and characters. Historical dramaturgy (A. Tolstoy's dilogy about Ivan the Terrible).

Russian historical novel of the first half of the 20th century. (“Peter the Great” by A. Tolstoy). Russian historical novel of the 1920-1930s: the problem of the relationship between history and modernity. Study of the prehistory of the revolution. Image of the people as the main creative force of history. The interest of writers in depicting outstanding revolutionaries and popular movements of the past: Razin Stepan by A. Chapygin, the novels Radishchev, Dressed with Stone by O. Forsh, Emelyan Pugachev by V. Shishkov.

The theme of Peter the Great in Russian literature and creativity Alexei Tolstoy (1883-1945)("Delusion", "Peter's Day", 1917-1919).

The novel "Peter the Great": features of the idea ("entry into history through modernity"), sources of work on the novel. The concept of the Petrine era. Themes, main conflicts and storylines(the struggle of the new with the old, the birth new Russia, the movement of history in the novel, the theme of East and West). Composite center of vision. The evolution of the image of Peter. His followers and opposition. The image of the people, its social structure and evolution (the Brovkin family, the Vorobyov brothers, Kuzma Zhemov, ataman Ivan, Ovdokim, Fedka Wash yourself with mud, Andrey Golikov, etc.). The theory of "internal gesture" by A. Tolstoy and its artistic realization in the work. Features of the image of everyday life and the reconstruction of the color of the era. The language of the novel.

The Significance of A. Tolstoy's Novel in the Development of the Russian Historical Novel of the 20th Century.

Literature of the Russian Diaspora (First Wave). The originality of realism I. Shmelev and B. Zaitsev. Russian foreign literature as part of the national culture of the twentieth century. Periodization of the literary process in Russia and in the Russian diaspora. Causes of literary emigration of the first wave. Settlement centers: Berlin, Paris, Prague, Warsaw, Sofia, Baltic States, Belgrade, Harbin. "Russian Berlin" - a period of relative unity of the literary process - a time of cooperation between the writers of Soviet Russia and Russian abroad. Paris is the "capital of foreign countries".

Literary publishing houses. Almanacs. Collections. Mugs. The main themes, motives, images (the theme of Russia and the revolution, the fate of Russian and European civilization, nostalgia, memory, home, childhood, love, creativity). Development of new genre forms: autobiographical novel about the past, diary prose combining epic narration with lyrics, fictionalized biography (creativity of B. Zaitsev, Vl. Khodasevich, I. Bunin).

The Stability of the Orthodox Religious Worldview Ivan Shmelev(1873-1950) . The tragedy of post-revolutionary Russia in the epic " sun of the dead". Resurrection of the spiritual foundations of life in Russia in the book "Summer of the Lord". The cyclicity of the natural-cosmic and Orthodox-ritual movement of time. The characters of the novel as carriers of Christian principles and commandments (father, Gorkin).

General characteristics of creativity Boris Zaitsev(1881-1972) in the context of artistic searches in Russian prose at the beginning of the century. The realism of the artist's worldview and the impressionistic style of painting. Gain Christian motives in the work of the emigrant period ("Reverend Sergius of Radonezh"). Autobiographical tetralogy "Gleb's Journey". Fictionalized biographies of Russian writers.

Writers and poets of realistic and modernist movements. Writers who did not belong to literary schools.

Writers of the older generation and literary youth (V. Nabokov, G. Gazdanov and others).

Stages of V. Nabokov's career. The beginning of the life and career of Vladimir Nabokov (1899-1977). First poetic experiences.

Berlin period of creativity. The novel "Mashenka". V. Nabokov's autobiographical prose "Other Shores" as a kind of author's commentary on the novel "Mashenka". Nostalgia for Russia as the main theme of the work. The image of Ganin and his antagonist Alferov. The conflict between past and present, spiritual and non-spiritual, living and dead. Hidden dating of the work. Categories of time and space (natural and domestic) in the story and their artistic functions. Semantic centers of the novel, embodying: absurdity, deceit, falsehood / joy, love, happiness. The game as a structure-forming element of the work. Reception specular reflection. Color background and the role of color designations. The word-image "shadow" as a key word of the text. The symbolism of the work.

The problem of the traditions of Russian classics in the work of Nabokov. The novel "Defense of Luzhin". Question about the prototype of the protagonist. Luzhin's fate as a global metaphor. The expulsion of the hero from the "children's paradise" and his creative compensation in a chess game. duality motif. Metaphysical error of the hero.

Nabokov's novels of the 1930s ("Spy", "Feat", "Camera Obscura", "Despair", "Gift").

General characteristics of the English-language creativity of V. Nabokov: "Lolita" and others. The problem of national identification of the works of a bilingual writer.

V. Nabokov's contribution to the development of Russian literature.

Russian literature of the second half of the twentieth century
General characteristics of Russian literature 1950-1980. Phenomenon village prose». Activation of spiritual and literary life in the country after the 20th Congress of the CPSU. The emergence of new literary and art magazines and almanacs. Entry into literature of a new generation of poets, prose writers, playwrights. Activation of creativity of artists of the older generation (V. Lugovskoy, N. Zabolotsky and others).

Incomplete democratization processes. Prohibition of a number of works (B. Pasternak, A. Solzhenitsyn, V. Grossman, A. Beck, Yu. Dombrovsky, A. Tvardovsky, V. Shalamov, etc.). Dissidence and forms of its expression. "Samizdat". Tamizdat. Magnitizdat. Departure of a number of writers abroad.

Variety of prose: lyrical, rural, urban, lieutenant, memoir. Conventional classification.

Formation and development of rural prose. Genesis rustic theme. Prose of the 1920s-1930s about the fate of peasant Russia as a prehistory of the development of the village theme in the 1960s-1970s. The role of V. Ovechkin as the discoverer of the topic in the essay genre. Appeal to rural prose by E. Dorosh, G. Troepolsky, V. Tendryakov. The place of A. Solzhenitsyn's story "Matryona's Dvor" in the process of mastering the life of the people. The discovery of the national character in the story of V. Belov "The usual business." An appeal to the tragic events of collectivization (“On the Irtysh” by S. Zalygin, “Death” by V. Tendryakov, “Men and Women” by B. Mozhaev, “Eve” by V. Belov, etc.).

Further social, moral, philosophical searches for rural prose, a wealth of creative individuals (V. Shukshin, F. Abramov, V. Belov, E. Nosov, V. Rasputin, V. Astafiev, V. Krupin, etc.).

The creative path of V. Shukshin. The Phenomenon of Vasily Shukshin (1929-1974). Variety of talents (literature, screenwriting, directing and acting).

Problems, genre and style diversity of the writer's work. The problem of the people as a central one in Shukshin's prose and screenplay. Shukshin is a master of the small genre. Transformation of genre and style forms (“story-fate”, “story-character”, “story-confession”, “story-joke” according to Shukshin). situations and conflicts. Characterology. character marginality. Psychologism. Polyphonism. The author-hero ratio.

The novel "Lubavins": the image of the fate of the Russian village on turning points in the light of social problems. The novel "I came to give you freedom": novelty of the interpretation of historical events and the role of the individual. The central problems of the novel: the fate of Russia, the peasant uprising and Stepan Razin.

Satire Shukshin. The unity of the comic and the tragic. Stories, a philosophical tale "Until the third cocks", a satirical story "Energetic people".

The film story "Kalina Krasnaya": the character and fate of Yegor Prokudin and the author's concept of the national character. Folklore and mythological origins of poetics.

Stages of the creative path of V. Astafiev. The difficult life experience of Viktor Astafiev (1924-2001) and its reflection in the writer's work. Stories and novels of the 1950s-1960s. (“Pass”, “Starodub”, “Starfall”, “Theft”, “Is it a clear day”). The originality of Astafiev's autobiography.

Creative history and originality of the genre of the book " Last bow". Image of moral principles folk life. folk types. Image of Katerina Petrovna. The lyricism of an autobiographical narrative. Russian traditions autobiographical prose. The duality of the author's vision of the world.

The theme of the Great Patriotic War in the work of V. Astafiev. The story "The Shepherd and the Shepherdess": the innovative humanistic essence of the concept of war, the sharply polemical nature of the narrative. The origins of the tragedy of Boris Kostyaev. The tragically contradictory character of Mokhnakov. Depth of psychological analysis. Genre originality and specificity of the plot and composition. Mythopoetic and literary traditions.

"Tsar-fish" as a socio-philosophical work. specificity of the conflict. Character typology. The affirmation of the moral foundations of the national character and the condemnation of spiritual poaching.

The novel "The Sad Detective": problems, choice of the protagonist, figurative system. The originality of the genre and composition. publicity start. Traditions of Russian classics (N. Gogol, F. Dostoevsky, M. Gorky).

The evolution of the theme of the Great Patriotic War in the work of V. Astafiev in the 90s: the novel “Cursed and Killed”, the novels “So I Want to Live”, “Overtone”, “Merry Soldier”. Reconstruction of the tragedy of the people in the pre-war, war and post-war years. The author's concept of defeats and victories in the Great Patriotic War. The nature of conflicts. Confrontation between the individual and the state. The role of lyrical-journalistic digressions.

Stages of the creative path of A. Solzhenitsyn. The drama of the fate of A. Solzhenitsyn (b. 1918) - a man and a writer. His socio-philosophical views.

"One day of Ivan Denisovich": the history of design and publication. Actors and their prototypes. The image of the "social town": pictures of camp everyday life. Breadth of artistic generalization. Confrontation of people and "damned dogs" in the system of images. Features of the plot and composition. Acceptance of tragic irony. The peculiarity of the language. Traditions of Russian classics (F. Dostoevsky, A. Chekhov).

The artistic embodiment of the national type of character and the peculiarities of the conflict in the stories "Matryona Dvor", "Zakhar Kalita".

"The Gulag Archipelago": history of creation, socio-philosophical problems, genre originality. The realities of prison life. Narrator image. The idea of catharsis. Symbolism. Appeal to the works of Russian literature. "Gulag Archipelago" in the context of "camp" prose. Features of the language.

The novel work of A. Solzhenitsyn: “In the first circle”, “ cancer corps". Autobiographical basis, problems, system of images, nature of conflicts.

Epic "Red Wheel": ideological and thematic content, structural multi-layering, method of "nodal points".

Creativity of A. Solzhenitsyn of the 90s: "Tiny", "Two-part stories".

The evolution of the theme of the Great Patriotic War in the literature of the second half of the twentieth century."Lieutenant's prose" (late 1950s - 1960s) as a genre and style phenomenon and a new stage in the disclosure of the problem of "man and war". Its main properties and place in the literary process (G. Baklanov, Yu. Bondarev, V. Bogomolov, A. Ananiev, V. Kurochkin, V. Astafiev). Disputes about "trench" and "large-scale" prose. Traditions of V. Nekrasov. Image of the everyday life of the war. Features of the choice of the hero. Variety of situations and conflicts. The peculiarity of the chronotope. Lyrical and autobiographical beginnings.

New trends and genres of prose about the Great Patriotic War in the 70-90s. Artistic comprehension the feat of the people in tragic trials. Strengthening humanistic and philosophical principles, expanding the idea of the heroic. Problem moral choice. New in revealing personality. The skill of recreating the inner state of a person in a variety of situations in the war. The breadth of interpretations of a number of images and situations (Yu. Bondarev, V. Bykov, V. Rasputin, V. Kondratiev, G. Vladimov).

Development of the epic tradition. Meaning of the document, memoirs (A. Adamovich, D. Granin, V. Semin, V. Bogomolov, S. Aleksievich). Convergence of issues military prose with the moral and philosophical searches of the literature of this period.

Russian poetry of the second half of the twentieth century. Variety of ideological and artistic tendencies. Variety of currents in lyrics: “pop” poetry (E. Evtushenko, A. Voznesensky, R. Rozhdestvensky), “quiet” lyrics (V. Sokolov, N. Rubtsov), philosophical lyrics (N. Zabolotsky, L. Martynov, A. Tarkovsky ). Speeches against officialdom (poetry in the almanac "Metropol"). Active opposition to "stagnation" in poetry-songs and the activities of rock bands. Ways of development of the author's song in the 1960-1980s (B. Okudzhava, V. Vysotsky, A. Galich, N. Matveeva, Yu. Kim, Yu. Vizbor, V. Dolina, A. Makarevich, V. Tsoi).

New trends in poetry in the second half of the 1980s - early 1990s. The process of convergence of the main branches of Russian poetry (official, unofficial, delayed, foreign). Publications "From the literary heritage" of A. Akhmatova, A. Tvardovsky, V. Shalamov.

Art world Joseph Brodsky (1940-1996). The tragic nature of the worldview. The theme of existential loneliness. Personal experience of culture, history, Christianity. The theme of time is central.

The book as a genre in Brodsky's poetry. The poetics of the books "Stop in the Desert", "The End of a Beautiful Era", "Part of Speech", "Roman Elegies", "New Stanzas for August", "Urania".

Features of the poetics of Brodsky's lyrics. The archaism of the language and the innovation of poetic technique, the tragic pathos and irony, the classical rhythm of verse and stylistic eclecticism are opposites fused by the unity of the poetic personality. The evolution of poetry from expressive lyricism to neutrality of tone, the complication of poetic syntax, the movement from precise meters to intonational verse.

poetic vanguard. Creative search for "meta-metaphorists" (A. Eremenko, A. Parshchikov), "conceptualists" (D. Prigov, L. Rubinstein), "ironists" (I. Irteniev, V. Vishnevsky), "courtly mannerists" (V. Stepantsov, V. Pelenyagre), their artistic gains and losses. Lyrics and poems most talented poets new generation (I. Zhdanov, T. Kibirov).

Poets outside the "schools", "semantic poets" (E. Rein's self-determination), close to the classical tradition: E. Rein, B. Akhmadulina, V. Sosnora, A. Kushner, G. Gorbovsky, O. Chukhontsev, O. Khlebnikov , T. Beck, Yu. Kuznetsov.

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Vyborg branch of St. Petersburg state university civil aviation

Features of the development of literature in the 1920-1940s

Performed by a cadet of 61 groups

Shibkov Maxim

Vyborg 2014

Introduction

Literature of the first post-revolutionary years

Soviet literature of the 1930s

Literature of the period of the Great Patriotic War

The development of literature in the postwar years

Conclusion

Bibliography

Introduction

The 1920s-1940s are one of the most dramatic periods in the history of Russian literature.

On the one hand, the people, inspired by the idea of building a new world, perform feats of labor. The whole country rises to the defense against the Nazi invaders. Victory in the Great Patriotic War inspires optimism and hope for a better life. These processes are reflected in the literature.

On the other hand, it was in the second half of the 1920s and until the 1950s that Russian literature experienced powerful ideological pressure and suffered tangible and irreparable losses.

Literature of the first post-revolutionary years

In post-revolutionary Russia, a huge number of different groups and associations of cultural figures existed and operated. In the early 1920s, there were about thirty associations in the field of literature. All of them sought to find new forms and methods of literary creativity.

The young writers who were part of the Serapion Brothers group tried to master the technology of art in the widest possible range: from the Russian psychological novel to the action-packed prose of the West. They experimented, striving for the artistic embodiment of modernity. This group included M.M. Zoshchenko, V.A. Kaverin, L.N. Lunts, M.L. Slonimsky and others.

Constructivists (K.L. Zelinsky, I.L. Selvinsky, A.N. Chicherin, V.A. Lugovoy and others) declared in prose the orientation to the “construction of materials” instead of the intuitively found style, montage or “cinematic »; in poetry - mastering the techniques of prose, special layers of vocabulary (professionalism, jargon, etc.), rejection of "slush lyrical emotions”, the desire for fabulousness.

The poets of the Kuznitsa group made extensive use of symbolist poetics and Church Slavonic vocabulary.

However, not all writers belonged to associations of any kind, and the actual literary process was richer, broader and more diverse than was determined by the framework of literary groupings.

In the first years after the revolution, a line of revolutionary artistic avant-garde. All were united by the idea of a revolutionary transformation of reality. Proletkult was formed - a cultural, educational, literary and artistic organization, which set as its goal the creation of a new, proletarian culture by developing the creative amateur activity of the proletariat.

After the October Revolution in 1918, A. Blok created his own famous works: the article "Intelligentsia and Revolution", the poem "The Twelve" and the poem "Scythians".

In the 1920s, satire reached an unprecedented flowering in Soviet literature. In the field of satire, the most different genres- from the comic novel to the epigram. The leading trend was the democratization of satire. The main tendencies of all the authors were the same - the exposure of what should not exist in a new society created for people who do not carry petty-proprietary instincts; ridiculing bureaucratic chicanery, etc.

Satire was V. Mayakovsky's favorite genre. Through this genre, he criticized officials and tradesmen: the poems "About rubbish" (1921), "Seated" (1922). A peculiar result of Mayakovsky's work in the field of satire was the comedy Bedbug and Bathhouse.

Very significant in these years was the work of S. Yesenin. In 1925, the collection "Soviet Rus'" was published - a kind of trilogy, which included the poems "Return to the Motherland", "Soviet Rus'" and "Rus' Leaving". Also in the same year, the poem "Anna Snegina" was written.

In the 1920s and 1930s, well-known works by B. Pasternak were published: a collection of poems "Themes and Variations", a novel in verse "Spectator's", the poems "The Nine Hundred and Fifth Year", "Lieutenant Schmitd", the cycle of poems "High Illness" and the book " Security certificate.

Soviet literature of the 1930s

In the 1930s, the process of physical extermination of writers began: the poets N. Klyuev, O. Mandelstam, P. Vasiliev, B. Kornilov were shot or died in the camps; prose writers S. Klychkov, I. Babel, I. Kataev, publicist and satirist M. Koltsov, critic A. Voronsky, N. Zabolotsky, A. Martynov, Y. Smelyakov, B. Ruchyev and dozens of other writers were arrested.

No less terrible was the moral destruction, when various articles appeared in the press, denunciations of writers who were doomed to many years of silence. It was this fate that befell M. Bulgakov, A. Platonov, M. Tsvetaeva, who returned from emigration, A. Kruchenykh, partially A. Akhmatova, M. Zoshchenko and many other masters of the word.

Since the end of the 1920s, there has been established between Russia and the rest of the world " iron curtain”, and Soviet writers no longer visited foreign countries.

In August 1934, the First All-Union Congress of Soviet Writers opened. The congress delegates recognized the method of socialist realism as the main method of Soviet literature. This was included in the Charter of the Union of Soviet Writers of the USSR.

Speaking at the congress, M. Gorky described this method as follows: “Socialist realism affirms being as an act, as creativity, the purpose of which is the continuous development of the most valuable individual abilities of a person for the sake of his victory over the forces of nature, for the sake of his health and longevity, for the sake of great happiness to live on earth."

The most important principles in socialist realism were partisanship (biased interpretation of facts) and nationality (expression of the ideas and interests of the people) of literature.

Since the beginning of the 1930s, a policy of severe regulation and control has been established in the field of culture. Diversity has been replaced by uniformity. The creation of the Union of Soviet Writers finally turned literature into one of the areas of ideology.

The period from 1935 to 1941 is characterized by a trend towards the monumentalization of art. The affirmation of the gains of socialism had to be reflected in all forms artistic culture. Each form of art led to the creation of a monument to any image of modernity, the image of a new man, to the establishment of socialist norms of life.

However, the 1930s were marked not only by terrible totalitarianism, but also by the pathos of creation.

Interest in changing human psychology in the revolution and the post-revolutionary transformation of life intensified the genre of the novel of education (N. Ostrovsky “How the Steel Was Tempered”, A. Makarenko “ Pedagogical poem»).

An outstanding creator of philosophical prose was Mikhail Prishvin, author of the story "Ginseng", a cycle of philosophical miniatures.

A significant event in the literary life of the 30s was the appearance of the epics of M. Sholokhov "Quiet Flows the Don" and A. Tolstoy "Walking through the torments".

Children's books played a special role in the 1930s.

Soviet post-revolutionary literature

Literature of the period of the Great Patriotic War

The beginning of the Great Patriotic War marked a new stage in the development of literature. As well as after the revolution, during the Great Patriotic War it was impossible to write about anything other than what was happening in the life of the country. The main pathos of all Soviet art during the Great Patriotic War is the heroism of the people's liberation war and hatred of the invaders. For some time the war returned Russian literature to its former diversity. The voices of A. Akhmatova, B. Pasternak, A. Platonov, M. Prishvin sounded again.

At the beginning of the war, the main idea of fiction was hatred for the enemy, then the problem of humanism was raised (M. Prishvin "The Tale of Our Time").

Toward the end of the war and in the first post-war years, works began to appear in which an attempt was made to comprehend the feat of the people (“Word about Russia” by M. Isakovsky, “Frontiers of Joy” by A. Surkov). The tragedy of the family in the war became the content of A. Tvardovsky's still underestimated poem "House by the Road" and A. Platonov's story "Return", subjected to cruel and unfair criticism immediately after its publication in 1946.

The development of literature in the postwar years

The period of the late 1940s - early 1950s became a time of struggle against dissent, which significantly impoverished the cultural life of the country. Followed whole line ideological party decrees.

A significant phenomenon in the literature of the Soviet era was the active development of the literary creativity of the peoples of the USSR. Thus, the development of literature of that time was influenced by the work of the Tatar poet Musa Jalil.

The most significant genre of Soviet prose was the genre of the novel, traditional for Russian literature. In accordance with the principles of social realism, the main attention was paid to the social origins of reality. Therefore, the decisive factor in a person's life in the depiction of Soviet novelists was social work.

In the 1930s, interest in history intensified in literature, and the number of historical novels and short stories increased. driving force history, the class struggle was considered, and the entire history of mankind was considered as a change in socio-economic formations. The hero of the historical novels of this time was the people as a whole, the people - the creator of history.

Prose and poetry

The leading genres of the epic in war time became an essay, a story, i.e. small epic forms. Publicistic literature has become important.

The development of poetry in the 1920s-1940s was subject to the same laws as the development of all literature as a whole. In the first post-war years, the polyphony of the Silver Age was preserved, i.e. dominance of lyrical forms. The tendencies of proletarian art (the Kuznitsa group) were very strong. In 1919, S.A. Yesenin, R. Ivnev, V.G. Shershenevich and others presented the principles of Imagism. They argued that the confrontation between art and the state was inevitable. close in spirit to many Russian poets, especially to emigrant poets, in particular Marina Tsvetaeva, was one of the largest Austrian poets Rainer Maria Rilke (1875-1926).

In the 1930s, diverse groupings were abolished, and the aesthetics of socialist realism became predominant in poetry.

During the war years, lyrics developed rapidly. The poems of K.M. Simonov (“Wait for me”), A.A. Surkov (“Dugout”), A.A. Akhmatova ("Courage"). Very characteristic of that time is the fate of the poet Osip Emilievich Mandelstam (1891-1938). He, along with N. Gumilyov, S. Gorodetsky, V. Narbut and others, was a member of the association "Workshop of Poets" - the school of acmeists. O.E. Mandelstam is a poet of the evolutionary type. For early creativity the poet is characterized by the desire for clarity, clarity, harmony of expression. Researchers call Mandelstam's poetics associative. Images, words evoke associations that help to understand the meaning of the poem. The main feature of his poetry is its originality, innovation, the discovery of new possibilities of poetic language.

Drama and cinema

In the early 1920s, dramaturgy as such hardly developed. Staged on theater stages classical plays. Soviet plays began to be created only in the second half of the 1920s.

In the 1930s, the development of dramaturgy, as well as of all Soviet art, was dominated by a craving for monumentality.

Drama proved to be very important for the cultural situation of the period of the Great Patriotic War. In the first months of the war, several plays devoted to military issues appeared (“War” by V. Stavsky, “Towards” by K. Ternev, etc.). In 1942-1943 there were the best works of that time - “Invasion” by L. Leonov, “Russian people” by K. Simonov, “Front” by A. Korneichuk, which influenced not only the cultural, but also the social situation.

The development of cinematography determined the emergence and development of a type of literary and cinematic creativity that did not exist before - film dramaturgy. She creates, develops and fixes her stories (or reworks previously created ones) in accordance with the tasks of their screen embodiment. The greatest Soviet film writer and theorist was N.A. Zarkhi, who achieved a combination of literary tradition and screen possibilities.

Conclusion

The period of the 1920s - 1940s was difficult for the development of literature. Rigid censorship, the "Iron Curtain", monotony - all this was reflected in the development of not only Soviet literature, but also Soviet art as a whole. Due to the policy pursued in the country, many writers were silent for several years, many were repressed. These years brought such literary trends as acmeism, imagism, socialist realism. Also, thanks to front-line poets and prose writers, we learn the true spirit of the Russian people, their unity in the fight against a common enemy - the Nazi invaders.

Bibliography

1. Obernikhina G.A. Literature: a textbook for student secondary vocational institutions. - M.: Publishing Center "Academy", 2010 - 656 p.

2. http://antique-world.rf/fo/pisateli/10_y/ind.php?id=975

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Features of the development of poetry in the 1930s. Russian Federation Federal State Budgetary Educational Institution of Higher Education "Tyumen Industrial University

Cinematography in the USSR

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