The coexistence of different directions at the same time is characteristic. Modernism, realism together. New within the old. The same themes are heard in the works of writers of different directions. Questions about life and death, faith, the meaning of life, good and evil. At the turn of the 20th century there were apocalyptic moods. And next to this is a hymn to man. 1903 ᴦ. Bitter. Prose poem ʼʼManʼʼ. Nietzsche is an idol for Gorky, Kuprin and others.
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It raises questions about self-respect, dignity and personal worth. Kuprin "Duel" Interesting Freud, interest in the subconscious. ʼʼMan - ϶ᴛᴏ sounds proudʼʼ. Attention to the person. Sologub, on the contrary, pays attention to the little person. Andreev made the ordinary average person perceive the thoughts of a proud Man and led him to the realization of the impossibility of life. The problem of personality. Search, questions about life and death on equal terms. The motif of death is in almost every poem. The search for meaning and support in man, then the question of faith and unbelief arose. They turn to the devil no less than to God. An attempt to understand what is greater: the devilish or the divine. But the beginning of the century is still an era of prosperity. High level of word art. Realists: Tolstoy, Chekhov, Kuprin, Bunin.

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

Publishing house ʼʼZnanieʼʼ. Fundamentally focused on realistic literature. There is a “community of literate people”. Οʜᴎ are engaged in spreading literacy. Pyatnitsky works there. In 1898, the publishing house “Znanie” was separated from this society on his initiative. First they publish scientific works. General education literature.

All publishing houses published realistic works. “World of Art” is the first modernist publishing house. 1898 ᴦ. And the magazine of the same name. The organizer of the issue is Diaghilev. There were symbolists here until 1903, and then they had the magazine “New Way”. ʼʼScorpioʼʼ (ʼʼLibraʼʼ) in St. Petersburg, ʼʼGrifʼʼ (ʼʼGolden Fleeceʼʼ) in Moscow.

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

general characteristics literature of the beginning of the century. (more details, please read)

Late XIX - early XX centuries. became a time of bright flourishing of Russian culture, its “silver age” (the “golden age” was called Pushkin’s time). In science, literature, and art, new talents appeared one after another, bold innovations were born, and competition different directions, groupings and styles. At the same time, the culture silver age“there were deep contradictions characteristic of all Russian life of that time.

Russia's rapid breakthrough in development and the clash of different ways of life and cultures changed the self-awareness of the creative intelligentsia. Many were no longer satisfied with the description and study of visible reality, analysis social problems. I was attracted by deep, eternal questions - about the essence of life and death, good and evil, human nature. Interest in religion revived; 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 turning point not only enriched literature and art: it constantly reminded writers, artists and poets of impending social explosions, of the fact that the entire familiar way of life, the entire old culture, could perish. Some awaited these changes with joy, others with melancholy and horror, which brought pessimism and anguish into their work.

At the turn of the 19th and 20th centuries. literature developed in other historical conditions than before. If you look for a word that characterizes the most important features period under review, then the word “crisis” will be used. Great scientific discoveries shook the classical ideas about the structure of the world and led to the paradoxical conclusion: “matter has disappeared.” A new vision of the world, thus, will determine the new face of realism of the 20th century, which will differ significantly from the classical realism of its predecessors. Also devastating consequences for human spirit had a crisis of faith (“God is dead!” exclaimed Nietzsche). This led to the fact that the person of the 20th century began to increasingly experience the influence of irreligious ideas. The cult of sensual pleasures, the apology for evil and death, the glorification of the self-will of the individual, the recognition of the right to violence, which turned into terror - all these features indicate a deep crisis of consciousness.

In Russian literature of the early 20th century, a crisis of old ideas about art and a feeling of exhaustion of past development will be felt, and a revaluation of values ​​will take shape.

The renewal of literature and its modernization will cause the emergence of new trends and schools. The rethinking of old means of expression and the revival of poetry will mark the advent 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 art critic and the editor of Apollo, S. Makovsky, consolidated this phrase by calling 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 / Cold over the silver age.”

Chronological framework The period defined by this metaphor can be designated as follows: 1892 - exit from the era of timelessness, the beginning of social upsurge in the country, manifesto and collection "Symbols" by D. Merezhkovsky, the first stories of M. Gorky, etc.) - 1917. According to another point of view, the chronological end of this period can be considered 1921-1922 (the collapse of former illusions, the mass emigration of Russian cultural figures 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 et al.

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 et al.

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

Cubo-futurists(poets of "Gilea"): 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 most interesting phenomena in the art of the first decades of the 20th century there was a revival of romantic forms, largely forgotten since the beginning of the last century.

Realistic publishing houses:

Knowledge (issue general education literature– Kuprin, Bunin, Andreev, Veresaev); collections; social Issues

Rosehip (St. Petersburg) collections and almaci

Slovo (Moscow) collections and almanacs

Gorky publishes the literary and political magazine ʼʼLetopisʼʼ (Parus publishing house)

ʼʼWorld of Artʼʼ (modernist. Art; magazine of the same name) - Diaghilev founder

“New Path”, “Scorpio”, “Vulture” - symbolist.

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

1 Literary theory. Composition. Architectonics, plot and plot. Composition as an organization of plot development

3 Literature of the 20th century. MM. Zoshchenko. The artistic world of the writer. Image " little man» new Russia

To the elements of the composition literary work include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of “publishers” (created by the author’s imagination of extra-plot images), dialogues, monologues, episodes, inserted stories and episodes, letters, songs (for example, Oblomov's dream in Goncharov's novel "Oblomov", a letter from Tatyana to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets..." in Gorky's drama "At the Lower Depths"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.

a) the action of the work can begin from the end of events, and subsequent episodes will restore the time course of the action and explain the reasons for what is happening; such a composition is called reverse (this technique was used by N. Chernyshevsky in the novel “What is to be done?”);

b) the author uses a framing composition, or a ring composition, in which the author uses, for example, repetition of stanzas (the last repeats the first), artistic descriptions(the work begins and ends with a landscape or interior), the events of the beginning and ending take place in the same place, the same characters participate in them, etc.; This technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in “Poems about a Beautiful Lady”) and in prose (“ Dark alleys» I. Bunina; “Song of the Falcon”, “Old Woman Izergil” by M. Gorky);

c) the author uses the technique of retrospection, that is, returning the action to the past, when the reasons for the current narrative were laid (for example, the author’s story about Pavel Petrovich Kirsanov in Turgenev’s novel “Fathers and Sons”); Often, when using retrospection, an inserted story of the hero appears in the work, and this type of composition will be called “a story within a story” (Marmeladov’s confession and Pulcheria Alexandrovna’s letter in “Crime and Punishment”; Chapter 13 “The Appearance of the Hero” in “The Master and Margarita”; “ After the Ball" by Tolstoy, "Asya" by Turgenev, "Gooseberry" by Chekhov);

d) often the organizer of the composition is an artistic image, for example, the road in Gogol’s poem “ Dead Souls"; pay attention to the scheme of the author's narration: Chichikov's arrival in the city of NN - the road to Manilovka - Manilov's estate - the road - arrival at Korobochka - the road - a tavern, meeting with Nozdryov - the road - arrival at Nozdryov - the road - etc.; it is important that the first volume ends on the road; Thus, the image becomes the leading structure-forming element of the work;

e) the author can preface the main action with an exposition, which will be, for example, the entire first chapter in the novel “Eugene Onegin,” or he can begin the action immediately, sharply, “without acceleration,” as Dostoevsky does in the novel “Crime and Punishment” or Bulgakov in "The Master and Margarita";

f) the composition of the work can be based on the symmetry of words, images, episodes (or scenes, chapters, phenomena, etc.) and will be mirrored, as, for example, in A. Blok’s poem “The Twelve”; a mirror composition is often combined with a frame (this principle of composition is characteristic of many poems by M. Tsvetaeva, V. Mayakovsky, etc.);

g) the author often uses the technique of a compositional “break” of events: he breaks off the narrative at the very interesting place at the end of a chapter, and a new chapter begins with a story about another event; for example, it is used by Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita. This technique is very popular among the authors of adventure and detective works or works where the role of intrigue is very large.

The composition of a work can be thematic, in which the main thing is to identify the relationships between the central images of the work. This type of composition is more characteristic of lyrics. There are three types of such composition:

1. sequential, representing logical reasoning, the transition from one thought to another and the subsequent conclusion at the end of the work (“Cicero”, “Silentium”, “Nature is a sphinx, and therefore it is more true...” Tyutchev);

2. development and transformation of the central image: central image is examined by the author from various angles, its striking features and characteristics are revealed; such a composition assumes a gradual increase in emotional tension and a culmination of experiences, which often occurs at the end of the work (“The Sea” by Zhukovsky, “I came to you with greetings...” by Fet);

3. comparison of 2 images that entered into artistic interaction (“Stranger” by Blok); such a composition is based on the technique of antithesis, or opposition.

So, composition is an aspect of the form of a literary work, but its content is expressed through the features of the form. The composition of a work is an important way of embodying the author's idea.

2 Literature of the 19th century. M.E. Saltykov-Shchedrin. A satirical denunciation of the despotism of power and the long-suffering of the people

Among the classics of Russian criticism realism XIX V. M.E. Saltykov-Shchedrin (1826-1889) takes the place of an unrivaled artist of words in the field of socio-political satire. This determines the originality and enduring significance of its literary heritage. A revolutionary democrat, socialist, educator in his ideological convictions, he acted as an ardent defender of the oppressed people and a fearless denouncer of the privileged classes. The main pathos of his work lies in the uncompromising denial of all forms of oppression of man by man in the name of the victory of the ideals of democracy and socialism. During the 50-80s. The voice of the brilliant satirist, the “prosecutor of Russian public life,” as his contemporaries called him, sounded loudly and angrily throughout Russia, inspiring the best forces of the nation to fight the socio-political regime of the autocracy.

Saltykov’s ideological and aesthetic views were formed, on the one hand, under the influence of Belinsky’s ideas that he had adopted in his youth, the ideas of the French utopian socialists, and in general under the influence of broad philosophical, literary and social quests of the era of the 40s, and on the other hand, in the environment of the first democratic rise in Russia. The literary peer of Turgenev, Goncharov, Tolstoy, Dostoevsky, Saltykov-Shchedrin was, like them, a writer of high aesthetic culture, and at the same time, he perceived with exceptional sensitivity the revolutionary trends of the 60s, the powerful ideological sermon of Chernyshevsky, giving in his work an organic synthesis of the qualities of a soulful artist who excellently comprehended the social psychology of all layers of society, and a temperamental political thinker-publicist, always passionately devoted himself to the struggle taking place in the public arena.

Saltykov, having already become famous writer, continued his official activities for several years. He served as vice-governor in Ryazan and Tver (1858-1862), chairman of the state chamber in Penza, Tuley of Ryazan (1865-1868). While in these positions, he tried, as far as conditions allowed, “not to offend the peasant.” Such a humane attitude towards the people was unusual in the highest bureaucratic environment, and colleagues, recalling the French revolutionary Robespierre, called Vice-Governor Saltykov Vice-Robespierre.

Saltykov's many years of professional activity gave him rich material for creativity. On personal life experience he perfectly comprehended the official and behind-the-scenes sides of the highest bureaucracy and officialdom, and that is why his satirical arrows hit the target so accurately.

In 1868, Saltykov-Shchedrin, having forever broken with the service and devoted himself exclusively to literature, stood together with Nekrasov at the head of “Notes of the Fatherland”, and after Nekrasov’s death (1878) - the head of this leading magazine, which continued the revolutionary-democratic traditions of Sovremennik, banned by the government in 1866

The period of work in Otechestvennye zapiski - from January 1868 until its closure in April 1884 - was the most brilliant period of Saltykov-Shchedrin's literary activity, the period of the highest flowering of his satire. His works appeared monthly on the pages of the magazine, attracting the attention of all reading Russia.

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

General characteristics of the period Last years XIX century became a turning point for Russian and Western cultures. Since 2000 and up to October revolution Literally every aspect of 1917 changed Russian life, ranging from economics, 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 turning point for it, was ahead of other countries in the pace and depth of changes, as well as in the enormity of internal conflicts.

What are the most important historical events took place in Russia at the beginning of the 20th century? Russia has experienced three revolutions: years; -February and October 1917, -Russian-Japanese War gg. -First world war gg., -Civil War

The internal political situation in Russia The end of the 19th century revealed the deepest crisis phenomena in the economy Russian Empire. The confrontation of three forces: defenders of monarchism, supporters of bourgeois reforms, ideologists of the proletarian revolution. Various ways of restructuring 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 a time of global natural scientific discoveries, especially in the field of physics and mathematics. The most important of them were the invention of wireless communication, the discovery x-rays, determination of electron mass, study of the phenomenon of radiation. The worldview of mankind was turned upside down by creation quantum theory(1900), special (1905) and general () theories 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 culture of 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) Poeticization of the image of Man: “Man - this sounds proud!” (M. Gorky) Russian thought echoed the “gloomy German genius.” (Alexander Blok). F. Nietzsche’s philosophy about the superman is “the will to re-evaluate.” (A. Bely) The superman is a general 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 Wanderers 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 (exhibition "Blue Rose", closely related to poetry; symbolism was not united stylistic direction) Symbolizmedin The emergence of groups representing the avant-garde direction in art (exhibition “Jack of Diamonds”), avant-garde favorite genre of avant-garde artists - still life Neo-primitivism (exhibition “Donkey’s Tail”) Neo-primitivism Author’s style (synthesis of European avant-garde trends with Russian national traditions) Copyright

Tragic story literature of the 20th century 1. In the 20s, writers who constituted the flower 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 At the end of the 19th and beginning of the 20th centuries, Russian literature became aesthetically multi-layered. Realism at the turn of the century remained a large-scale and influential literary movement. Thus, 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 rapid one. Russian poetry, unlike previous examples, has again come to the forefront of the country’s general cultural life. Thus began a new poetic era, called the “poetic renaissance” or “silver age.”

Modernism (from the French moderne - “newest”, “modern”) is new phenomena in literature and art. Its goal is the creation of a poetic culture that promotes the spiritual revival of humanity and the transformation of the world through the means of art. Symbolism (from the Greek symbolon - “sign, sign”) is a literary and artistic movement that considered the goal of art to be an intuitive comprehension of world unity through symbols. Existentialism is a worldview that raises questions about how a person can live in the face of impending historical catastrophes, based on the principle of contrasting subject and object.

Ideological foundations of realism and modernism Ideological foundation of realism Philosophy of modernism in the 20th century. Truth is One, good conquers evil, God defeats the devil. The world is not knowable, man is not able to separate good from evil. Hero Seeking the path to the highest, eternal values, carrying the ideals of goodness and 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 Expression of oneself and one’s understanding of the world and man.

The fundamental principles of the old realists, accepted by the new ones. Democracy is a rejection of elitist literature, understandable only to a “few” of dedicated literature. Taste for the public - awareness public role and the writer's responsibility. Historicism: art is a reflection of the era, its true 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 Evgeniy Ivanovich

Silver Age Silver Age - part artistic culture Russia at the end of the 19th - beginning of the 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 appeared with the same name. The author of all three collections was the young poet Valery Bryusov, who used different pseudonyms in order to create the impression of the existence of an entire poetic movement.

SYMBOLISM Symbolism is the first and largest of the modernist movements that arose in Russia. Theoretical basis Russian symbolism was founded in 1892 with a lecture by D. S. Merezhkovsky “On the causes of decline and new trends in modern Russian literature.” The title of the lecture contained an assessment of the state of the literature. The author pinned his hope for its revival on “new trends.” Dmitry Sergeevich Merezhkovsky

The main provisions of the Andrey current White Symbol- the central aesthetic category of the new movement. 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 the “initiates”. Thus, the symbol turns out to be one of the varieties of tropes.

The main provisions of the movement The symbol is polysemantic: it contains an unlimited variety of meanings. “The symbol is a window to infinity,” said Fyodor Sologub.

The main provisions of the movement The relationship between the poet and his audience was built in a new way in symbolism. The symbolist poet did not strive to be universally understandable. He did not appeal to everyone, but only to the “initiated”, 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 achieve this, the symbolists sought to make maximum use of the associative possibilities of the word and turned to the motifs and images of different cultures.

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

Young Symbolists “The final 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 Greek acme - highest degree something, blossoming, peak, edge). From wide range participants in the "Workshop" a narrower and aesthetically more united group of acmeists stood out: N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam, M. Zenkevich and V. Narbut.

Acmeists Akhmatova Anna Andreevna Mandelstam Osip Emilievich Gumilyov Nikolai Stepanovich Sergei Gorodetsky

Futurism Futurism (from Latin futurum - future). He first announced himself in Italy. The birth of Russian futurism is considered to be 1910, when the first futuristic collection “Zadok Judges” (its authors were D. Burliuk, V. Khlebnikov, V. Kamensky) was published. Together with V. Mayakovsky and A. Kruchenykh, these poets soon formed a group of Cubo-Futurists, or “Gilea” poets.
The main provisions of the movement As an artistic program, the futurists put forward a utopian dream of the birth of 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 cruising in the earth's orbit, V. Khlebnikov tried to offer humanity a new universal language and discover the “laws of time.”

Futurism has developed a kind of shocking repertoire. Bitter names were used: “Chukuryuk” - for the picture; "Dead Moon" - for a collection of works; "Go to hell!" - for a literary manifesto.

A slap in the face to public taste. Throw away Pushkin, Dostoevsky, Tolstoy, etc., etc. from the Steamship of Modernity.... To all these Maxim Gorkys, Kuprins, Bloks, Sologubs, Remizovs, Averchenkos, Chernys, Kuzmins, Bunins and so on. and so on. All you need is a dacha on the river. Fate gives such a reward to tailors... From the heights of skyscrapers we look at their insignificance!.. We order to honor the rights of poets: 1. To increase the vocabulary in its volume with arbitrary and derivative words (Word Innovation). 2. An insurmountable hatred of the language that existed before them. 3. With horror, remove from your proud brow the wreath of penny glory you made from the bath brooms. 4. Stand on the rock of the word “we” amidst whistling and indignation. And if the dirty marks of your “Common Sense” and “Good Taste” still remain in our lines, then for the first time the Lightnings of the New Coming Beauty of the Self-Valuable (Self-Valuable) Word are already trembling on them. D. Burliuk, Alexey Kruchenykh, V. Mayakovsky, Victor Khlebnikov Moscow, 1912 December

Neo-peasant poets We are the early morning clouds, the dawns of dewy spring. N. Gumilyov Yesenin Sergey Aleksandrovich Oreshin Pyotr Vasilievich Klyuev Nikolay Alekseevich

Writers who were not part 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 experienced a heyday comparable in brightness and diversity of talents to the brilliant beginning of the 19th century. This is a period of intensive development philosophical thought, visual arts, stagecraft. The literature develops various directions. In the period from 1890 to 1917, three literary movements- symbolism, acmeism and futurism, which formed the basis of modernism as a literary movement. The literature of the Silver Age revealed a brilliant constellation of bright poetic individuals, each of which represented a huge creative layer that enriched not only Russian literature, but also world poetry XX century.

Let's draw conclusions The last years of the 19th century became a turning point for Russian and Western cultures. Since 2000 and right up to the October Revolution of 1917, literally every aspect of Russian life changed, from economics, 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 turning point for it, was ahead of other countries in the pace and depth of changes, as well as in the enormity of internal conflicts.

Questions: What were the most important historical events that took place in Russia at the turn of the century? What philosophical ideas occupied the minds of mankind? Who coined the term “Silver Age”? What trends existed in literature at the turn of the century? What traditions did realist writers develop 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”.

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Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-2.jpg" alt="> General characteristics of the period The last years of the 19th century were turning points for the Russian"> Общая характеристика периода Последние годы XIX столетия стали поворотными для русской и западной культур. Начиная с 1890 - х гг. и вплоть до Октябрьской революции 1917 года изменились буквально все стороны российской жизни, начиная от экономики, политики и науки, и заканчивая технологией, культурой и искусством. Новая стадия историко-культурного развития была невероятно динамична и, в то же время, крайне драматична. Можно сказать, что Россия в переломное для нее время опережала другие страны по темпам и глубине перемен, а также по колоссальности внутренних конфликтов.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-3.jpg" alt="> What were the most important historical events that took place in Russia at the beginning of the 20th century? Russia"> Какие важнейшие исторические события происходили в России в начале 20 века? Россия пережила три революции: -1905 года; -Февральскую и Октябрьскую 1917 г. , -Русско-японскую войну 1904 -1905 гг. -Первую мировую войну 1914 -1918 гг. , -Гражданскую войну!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-4.jpg" alt="> The internal political situation in Russia The end of the 19th century revealed the deepest crises"> Внутриполитическая обстановка в России Конец XIX столетия обнажил глубочайшие кризисные явления в экономике Российской Империи. -Противоборство трех сил: защитники монархизма, сторонники буржуазных реформ, идеологи пролетарской революции. Выдвигались различные пути перестройки: «сверху» , законными средствами, «снизу» - путем революции.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-5.jpg" alt=">Scientific discoveries of the 20th century The beginning of the 20th century became a time of global natural science"> Научные открытия н. 20 века Начало XX столетия стало временем глобальных естественнонаучных открытий, особенно в области физики и математики. Самыми важными из них стали изобретение беспроволочной связи, открытие рентгеновских лучей, определение массы электрона, исследование феномена радиации. Мировоззрение человечества перевернули создание квантовой теории (1900), специальной (1905) и общей (1916 -1917) теории относительности. Прежние представления о строении мира были полностью поколеблены. Идея познаваемости мира, бывшая прежде непогрешимой истиной, подверглась сомнению.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-6.jpg" alt="> Tragic history of literature of the 20th century 1. In the 20th"> Трагическая история литературы 20 века 1. В 20 -е годы уехали или были изгнаны писатели, составлявшие цвет русской литературы: И. Бунин, А. Куприн, И. Шмелев и др. 2. Воздействие цензуры на литературу: 1926 год- конфискован журнал «Новый мир» с « Повестью непо- гашенной луны» Б. Пильняка. В 30 -е годы писателя рас- стреляют. (Е. Замятин, М. Булгаков и др.) И. А. Бунин!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-7.jpg" alt=">Tragic history of literature of the early 20th century 3. From the beginning of the 30th - x years"> Трагическая история литературы н. 20 века 3. С начала 30 -х годов начался процесс физического уничтожения писателей: были расстреляны или погибли в лагерях Н. Клюев, И. Бабель, О. Мандельштам и многие другие.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-8.jpg" alt="> Tragic history of literature of the early 20th century 4. From the beginning of the 30th - x years"> Трагическая история литературы н. 20 века 4. С начала 30 -х годов появилась тен- денция приве- дения литературы к единому методу - социалистическо му реализму. Одним из представителей стал М. Горький.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-9.jpg" alt="> In other words, almost everything creative people were in conflict in the 20th century"> In other words, almost all creative people in the 20th century were in conflict with the state, which, being a totalitarian system, sought to suppress the creative potential of the individual.

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-10.jpg" alt="> Literature of the 19th - early 20th centuries At the end of the 19th -"> Литература к. 19 - н. 20 веков В конце XIX - начале XX века русская литература стала эстетически многослойной. Реализм на рубеже веков оставался масштабным и влиятельным литературным направлением. Так, в эту эпоху жили и творили Толстой и Чехов. (отражение реальности, жизненной правды) А. П. Чехов. Ялта. 1903 г.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-11.jpg" alt="> The transition from the era of classical Russian literature to the new literary time was accompanied by an unusual"> Переход от эпохи классической русской литературы к новому литературному времени сопровождался необычайно быстрой. На авансцену общекультурной жизни страны снова вышла русская поэзия, не похожая на прежние образцы. Так началась новая поэтическая эпоха, получившая название "поэтического ренессанса" или "серебряного века".!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-12.jpg" alt="> The Silver Age is part of the artistic culture of Russia in the late 19th - early 20th centuries ,"> Серебряный век- часть художественной культуры России конца XIX - начала XX века, связанная с символизмом, акмеизмом, "неокрестьянской" литературой и отчасти футуризмом.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-13.jpg" alt=">New trends in Russian literature at the turn of the century In the period from 1890 to 1917"> Новые течения в литературе России рубежа веков В период с 1890 по 1917 год особенно ярко заявили о себе три литературных течения - символизм, акмеизм и футуризм, которые составили основу модернизма как литературного направления.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-14.jpg" alt=">SYMBOLISM March 1894 - a collection with the title"> СИМВОЛИЗМ Март 1894 г. - вышел в свет сборник с названием "Русские символисты". Через некоторое время появились еще два выпуска с таким же названием. Автором всех трех сборников был молодой поэт Валерий Брюсов, использовавший разные псевдонимы для того, чтобы создать впечатление существования целого поэтического направления.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-15.jpg" alt="> SYMBOLISM Symbolism is the first and largest of the modernist movements,"> СИМВОЛИЗМ Символизм является первым и самым крупным из модернистских течений, возникших в России. Теоретическая основа русского символизма была заложена в 1892 году лекцией Д. С. Мережков- ского "О причинах упадка и о новых течениях современной русской литературы". В названии лекции содержалась оценка состояния литературы. Надежда на ее возрождение возлагалась автором на "новые течения". Дмитрий Сергеевич Мережковский!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-16.jpg" alt=">The main provisions of the movement Andrey Bely Symbol - the central aesthetic"> Основные положения течения Андрей Белый Символ - центральная эстетическая категория нового течения. Представление о символе заключается в том, что он воспринимается как иносказание. Цепь символов напоминает набор иероглифов, своеобразных шифров для "посвященных". Таким образом, символ оказывается одной из разновидностей тропов.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-17.jpg" alt="> Basic provisions of the flow The symbol is polysemantic: it contains an unlimited variety of meanings."> Основные положения течения Символ многозначен: он содержит безграничное множество смыслов. "Символ - окно в бесконечность", - сказал Федор Сологуб.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-18.jpg" alt="> The main provisions of the movement The relationships between"> Основные положения течения По-новому строились в символизме отношения между поэтом и его аудиторией. Поэт- символист не стремился быть общепонятным. Он обращался не ко всем, но лишь к "посвященным", не к читателю- потребителю, а к читателю -творцу, читателю- соавтору. Символистская лирика будила "шестое чувство" в человеке, обостряла и утончал а его восприятие. Для этого символисты стремились максимально использовать ассоциативные возможности слова, обращались к мотивам и образам разных культур.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-19.jpg" alt=">Acmeism The literary movement of Acmeism arose in the early 1910s. ( from Greek acme -"> Акмеизм Литературное течение акмеизма возникло в начале 1910 -х годов. (от греч. acme - высшая степень чего- либо, расцвет, вершина, острие). Из широкого круга участников "Цеха" выделилась более узкая и эстетически более сплоченная группа акмеистов - Н. Гумилев, А. Ахматова, С. Городецкий, О. Мандельштам, М. Зенкевич и В. Нарбут.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-20.jpg" alt="> Basic principles of the flow of skipping syllables and New rhythms are created"> Основные положения теченияпропуска слогов и Новые ритмы создаются путем А. Ахматова перестановки ударения Самоценность каждого явления «Непознаваемые по своему смыслу слова нельзя познать»!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-21.jpg" alt=">Creative individualities of the Symbolists Clasped her hands under a dark veil. . ."> Творческие индивидуальности символистов Сжала руки под темной вуалью. . . "Отчего ты сегодня бледна? " - Оттого, что я терпкой печалью Напоила его допьяна. Как забуду? Он вышел, шатаясь, Искривился мучительно рот. . . Я сбежала, перил не касаясь, Я бежала за ним до ворот. Задыхаясь, я крикнула: "Шутка Все, что было. Уйдешь, я умру". Улыбнулся спокойно и жутко И сказал мне: "Не стой на ветру". 8 января 1911!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-22.jpg" alt="> Futurism (from Latin futurum - future). For the first time he declared"> Футуризм (от лат. futurum - будущее). Впервые он заявил Футуризм о себе в Италии. Временем рождения русского футуризма считается 1910 год, когда вышел в свет первый футуристический сборник "Садок Судей" (его авторами были Д. Бурлюк, В. Хлебников и В. Каменский). Вместе с В. Маяковским и А. Крученых эти поэты вскоре составили группировку кубофутуристов, или поэтов "Гилеи" (Гилея - !} ancient Greek name part of the Tauride province, where D. Burliuk’s father managed the estate and where the poets of the new association came in 1911).

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-23.jpg" alt=">The main provisions of the flow As an artistic program"> Основные положения течения В качестве художественной программы футуристы выдвинули утопическую мечту о рождении сверхискусства, способного перевернуть мир. Художник В. Татлин всерьез конструировал крылья для человека, К. Малевич разрабатывал проекты городов- спутников, курсирующих по земной орбите, В. Хлебников пытался предложить человечеству новый универсальный язык и открыть "законы времени".!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-24.jpg" alt="> A kind of shocking repertoire has developed in futurism. Bitter names were used:"> В футуризме сложился своего рода репертуар эпатирования. Использовались хлесткие названия: "Чукурюк" - для картины; "Дохлая луна" - для сборника произведений; "Идите к черту!" - для литературного манифеста.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-25.jpg" alt=">A slap in the face to public taste Throw Pushkin, Dostoevsky, Tolstoy"> Пощечина общественному вкусу Бросить Пушкина, Достоевского, Толстого и проч. , и проч. с Парохода Современности. . Всем этим Максимам Горьким, Куприным, Блокам, Сологубам, Ремизовым, Аверченкам, Черным, Кузминым, Буниным и проч. нужна лишь дача на реке. Такую награду дает судьба портным. . . С высоты небоскребов мы взираем на их ничтожество!. . Мы приказываем чтить права поэтов: 1. На увеличение словаря в его объеме произвольными и производными словами (Словоновшество). 2. На непреодолимую ненависть к существовавшему до них языку. 3. С ужасом отстранять от гордого чела своего из банных веников сделанный Вами венок грошовой славы. 4. Стоять на глыбе слова "мы" среди свиста и негодования. И если пока еще и в наших строках остались грязные клейма Ваших "Здравого смысла" и "Хорошего вкуса", то все же на них уже трепещут впервые Зарницы Новой Грядущей Красоты Самоценного (самовитого) Слова. Д. Бурлюк, Алексей Крученых, В. Маяковский, Виктор Хлебников Москва, 1912 г. Декабрь!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-26.jpg" alt=">Creative individualities of futurism In the poems of David"> Творческие индивидуальности футуризма В стихотворениях Давида Бурлюка "звезды - черви, пьяные туманом", "поэзия - истрепанная девка, а красота - кощунственная дрянь". В его провокационных текстах понижающие образы используются предельно максимально: Мне нравится !} pregnant man How handsome he is at the Pushkin monument Dressed in a gray jacket Picking the plaster with his finger<. .="">

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-27.jpg" alt=">Creative individuals of futurism Oh, laugh, you laughers!"> Творческие индивидуальности футуризма О, рассмейтесь, смехачи! О, засмейтесь, смехачи! Что смеются смехами, что смеянствуют смеяльно. О, засмейтесь усмеяльно! О, рассмешищ надсмеяльных - смех усмейных смехачей! О, иссмейся рассмеяльно, смех надсмейных смеячей! Смейево, смейево, Усмей, осмей, смешики, Смеюнчики, смеюнчики. О, рассмейтесь, смехачи! О, засмейтесь, смехачи! 1910!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-28.jpg" alt="> Let's summarize What historical events is Russia experiencing during this period?"> Подведем итоги Какие исторические события переживает Россия в этот период? Как развивалась литература на рубеже 19 -20 веков? Сформулируйте основные положения символизма, акмеизма, футуризма. Чем эти течения отличаются друг от друга? Назовите !} creative individuals each of the literary movements.

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-29.jpg" alt="> Let's draw conclusions At the turn of the century, Russian literature experienced a heyday comparable to"> Сделаем выводы На рубеже веков русская литература переживала расцвет, сравнимый по яркости и многообразию талантов с блистательным началом 19 века. Это период интенсивного развития философской мысли, изобразительного искусства, сценического мастерства. В литературе развиваются различные направления. В период с 1890 по 1917 год особенно ярко заявили о себе три литературных течения - символизм, акмеизм и футуризм, которые составили основу модернизма как литературного направления. Литература серебряного века явила блестящее созвездие ярких поэтических индивидуальностей, каждый из которых являл собой огромный творческий пласт, обогативший не только русскую, но и мировую поэзию XX века.!}

Src="https://present5.com/presentation/3/15630017_267582300.pdf-img/15630017_267582300.pdf-30.jpg" alt="> Let's draw conclusions The last years of the 19th century became turning points for Russian and Western"> Сделаем выводы Последние годы XIX столетия стали поворотными для русской и западной культур. Начиная с 1890 - х гг. и вплоть до Октябрьской революции 1917 года изменились буквально все стороны российской жизни, начиная от экономики, политики и науки, и заканчивая технологией, культурой и искусством. Новая стадия историко-культурного развития была невероятно динамична и, в то же время, крайне драматична. Можно сказать, что Россия в переломное для нее время опережала другие страны по темпам и глубине перемен, а также по колоссальности внутренних конфликтов.!}

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Slide captions:

The main trends in the development of literature at the turn of the 19th and 20th centuries “...The silent and invisible spheres in which man became involved distorted his image... His self-awareness disintegrated and separated, became abstract and ideal... The image of man became multi-layered and multi-component...” M.M. Bakhtin

Philosophy at the turn of the century Marxist F. Nietzsche and his theory of “will and freedom” Seeking God All three main directions of philosophy move away from the true faith - an act of apostasy.

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

F. Nietzsche and his theory about “will and freedom” “...and the poor should be completely destroyed” “... remorse of conscience teaches you to bite others” “... push those who fall”

God-seeking Reconstruct the forms of civil life and human existence based on the renewal of Christianity. That is, an attempt to formulate universal laws that will restrain the aggressive forces of humanity.

“Milestones” (N. Berdyaev, S. Bulgakov) From the idea of ​​social revolution to the idea of ​​spiritual revolution The danger of fanatical service to any theoretical programs The moral inadmissibility of belief in the universal significance of certain social ideals They warned about the disastrousness of the revolutionary path for Russia

Disputes about the name of the era Decadence - (from the French "decline") - a certain state of mind, a crisis type of consciousness, which is expressed in a feeling of despair, powerlessness, mental fatigue. Modernism - the “newest, 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 multi-layered.

Its founders were writers and famous religious publicists and philosophers of the “Silver Age”. V. Rozanov D. Merezhkovsky

Literary movements 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) Stylistic features (pp. 21-28 textbook) Modernism: Symbolism Acmeism Futurism G. Severini “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 called the main elements of the renewal of literature “ mystical content, symbols and the expansion of 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 reflect life as a whole, not only from its external side, not from its particular phenomena, but figuratively through symbols...to depict what forms a connection with Eternity, with the universal, world process

Artistic features Symbol is the central aesthetic category; multi-valued: it contains the prospect of limitless development 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 basis 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 over the edges of several words. These words shine like stars. Because of them the poem exists." A. Blok " Notebooks“The poem should not so much convey the author’s thoughts and feelings as awaken his own in the reader, help him in his spiritual ascent from the “real” to the “ supreme reality“Symbolist lyrics awakened the “sixth sense” in a person, sharpened and clarified his perception, and developed an intuition akin to artistic

K. Balmont I am the sophistication of Russian slow speech, Before me are other poets - forerunners, I first discovered in this speech the deviations, Recited, angry, gentle ringing. I am a sudden break, I am playing thunder, I am a transparent stream, I am for everyone and no one. A multi-foamed splash, broken and fused, Gemstones of the original land, Forest roll calls of green May - I will understand everything, I will take everything, taking everything from others. Forever young, like a dream. Strong theme that I am in love with both myself and others, I am an exquisite verse. 1901

Symbolism in painting by V. E. Borisov - Musatov “Ghosts” 1903 Odilon Redon "Eye like a ball" 1890

Futurism FUTURISM (from Latin futurum - future), avant-garde movement in European art 1910 - 20's, 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”, participants in the “Association of Ego-Futurists”, “Mezzanine of Poetry”, “Centrifuge”) the denial of traditional culture (the legacy of the “past”), and cultivated the aesthetics of urbanism and the machine industry. Painting (in Italy - U. Boccioni, G. Severini) is characterized by shifts, influxes of forms, multiple repetitions of motifs, as if summing up the impressions received in the process of rapid movement. For literature - the interweaving of documentary material and fiction, in poetry (V.V. Khlebnikov, V.V. Mayakovsky, A.E. Kruchenykh, I. Severyanin) - language experimentation (“words in freedom” or “zaum”).

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