3.4. Reading as the most important component of the reference formation process, the useful quote "Reading a artistic work is a complex creative process, which is an alloy of paintings of objective reality, depicted, understanding and evaluated by the writer, and

Chapter 4 Organization of the Reference Education Process Keywords: organizational form of training, extracurricular work, classification of lessons, non-traditional lesson, lesson structure, independent activities. Useful quote "Organizational form of training -

4.1. Forms of organization of the process of literary education The main forms of the organization of the process of literary education of schoolchildren are: a lesson; independent activity of students; extracurricular work. The extensive implementation of the reference

Pushkin estates and parks in verses of Russian poets of the late XVIII - early XX century Anthology Wonderful estates and parks, where he lived and worked the great Pushkin, attracts more and more pilgrims, seeking not just to see the sights and find out what -

For what and who prayed Okudzhava in verses and songs of the end of the fifties - the beginning of the sixties, although many Creations of Okudzhava were born in those times when the word "God" in the artworks as far as possible was avoided to use, in his writings,

Literature of the late XIX - early XX century

More than eighty years ago, Alexander Blok expressed hope and understanding of his future readers. Fifteen years later, another poet, Vladimir Mayakovsky, summing up his literary work, will really turn to the "respected comrades to descendants." Poets most importantly trust people: their books, and in them - all that they were striving for what people who lived in the "beautiful and fierce" XX century felt. And today, when we stand on the threshold of the new millennium, "you, from another generation", the very story is given the opportunity to see the outgoing century in the historical perspective and discover the domestic literature XX century.

One of the most striking and mysterious pages of Russian culture is the beginning of the century. Today this period is called the "silver age" of Russian literature after the "golden" XIX, when Pushkin, Gogol, Turgenev, Dostoevsky, Tolstoy reigned. But it is more correct to call "Silver Age" not all literature, but above all poetry, as the participants in the literary movement of that era themselves. Poetry, actively looking for new development paths, for the first time after Pushkin Powder at the beginning of the XX century. put forward on the first plan of the literary process. It must be remembered that the term "silver age" is conditional, but it is significant that the choice of this characteristic was given to tribute to predecessors, first of all A.S. Pushkin (more about this - in chapters dedicated to poetry).

However, at the turn of the XIX and XX century. Literature developed in other historical conditions than before. If you look for a word that characterizes the most important features of the period under consideration, then it will be the word crisis. Great scientific discoveries have embodved the classical ideas about the device of the world, led to a paradoxical conclusion: "Matter disappeared." E. Zamyatin in the early 20s of the 20s, "The exact science blew the reality of matter", "life itself - today has ceased to be flat-real: it is projected not on the previous fixed, but on the dynamic coordinates," and the most famous things in This new projection seems unfamiliar, fantastic. So, continues the writer, and new lighthouses were issued before the literature: from the image of life - to being, to philosophy, to the alloy of reality and fiction, from the analysis of phenomena - to their synthesis. Fair, although unusual at first glance, the conclusion of jamming that "realism has no roots", if they keep in mind the realism of "one naked image of life". A new vision of the world will thus identify the new face of the realism of the XX century, which will significantly differ from the classical realism of the predecessors with its "modernity" (definition I. Bunin). An designated trend towards renewing realism at the end of the XIX century. Imparably noticed by V.V. Rozanov. "... After naturalism, the reflection of reality, it is natural to expect idealism, penetration into the meaning of it ... the age-old flows of history and philosophy - that's what will be probably in the near future the beloved subject of our study ... Politics in the high sense of the word, in the sense of the penetration of history And influence on him, and philosophy as the need of dying and greedy for the salvation of the soul - such is the goal, unstoppablely learning us to him ... ", - wrote V.V. Rozanov (italics mine. - L. T.).

The crisis of faith for the human spirit had the crisis of faith ("God died!" - I exclaimed Nietzsche). This led to the fact that man XX century. More and more began to experience the influence of unguide and, that truly scary, immoral ideas, for, as Dostoevsky was predicted, if there is no God, then "everything is permitted." The cult of sensual pleasures, the apology of evil and death, chanting the personship of the person, recognition of the right to violence turned into terror - all these features, testifying to the deepest crisis of consciousness, will be characteristic not only for the poetry of modernists.

At the beginning of the XX century. Russia shook the most acute social conflicts: the war with Japan, the First World War, internal contradictions and, as the result, the scope of the people's movement, revolution. The collision of ideas aggravated, political movements and parties were formed, which they sought to influence the minds of people to the development of the country. All this could not not cause the feelings of instability, the philicness of being, the tragic fell of a person with himself. "Atlantis" - such a prophetic title will give a ship where the drama of life and death will unfold, I. Bunin in the story "Mr. from San Francisco", stressing the tragic teaching of the work by the description of the devil, who observing human destinies.

Each literary era has its own system of values, the center (philosophers call it axiological, value), to which anyway all the ways of artistic creativity converge. Such a center that determined many distinctive features of the domestic literature of the XX century was the story with its unprecedented socio-historical and spiritual cataclysms, which involved everyone in his orbit - from a particular person to the people and the state. If today, V.G. Belinsky called his XIX century by the advantage of historical, then this definition is all the more true in relation to the century of XX with its new world-minding, the basis of which was the idea of \u200b\u200ba decreasing historical movement. The time itself again put forward the problem of the historical path of Russia again, made the answer to the prophetic Pushkinsky question: "Where are you jumping, a proud horse, and where do you get the hoof?" The beginning of the 20th century was filled with predictions of "unprecedented rebellions" and "unheard of fires", the premonition of "retaliation", as a prophetic will say A. Block in his unfinished poem with the same name. The thought of B. Zaitseva is known that everyone has been lucked ("injured") revolutionary, regardless of political attitudes towards events. "Through the revolution as a state of the soul" - so I defined the modern researcher, one of the characteristic features of the "well-being" of the person of the time. The future of Russia and the Russian people, the fate of moral values \u200b\u200bin the turning point of the historical era, the relationship of a person with a real history, incomprehensible "the distrut" of a national character - from the answer to these "damned questions" of Russian thought could not leave any artist. So in the literature of the beginning of the century not only the traditional interest in history was manifested, but the special quality of artistic consciousness was formed, which can be defined as historical consciousness. At the same time, it is absolutely not necessary to look for in all works of direct appeals to specific events, problems, conflicts, heroes. History for literature First of all, her "Secret Duma", it is important to writers as an impetus for thinking about the mystery of being, to comprehend the psychology and life of the spirit of "historical person."

But the Russian writer was unlikely to consider herself to fulfill his destination if he had not been looking for himself (sometimes it was difficult, even painfully) and did not suggest a person's crisis era to the human understanding.

Without the sun, we would be dark slaves,

Out of understanding that there is a radiant day.

K. Balmont.

A person who has lost its integrity in the situation of the global crisis of spirit, consciousness, culture, a public device, and the search for the exit from this crisis, the desire to ideal, harmony - so you can determine the most important directions of the artistic thought of the churching era.

Literature of the end of the XIX - early XX century. - The phenomenon is extremely complex, proclaimed, but also a one-based basis, since all directions of domestic art developed in a common social and cultural atmosphere and responded to one and the same difficult issues put forward by time. So, for example, the idea of \u200b\u200bthe rejection of the surrounding world is imbued with not only the works of V. Mayakovsky or M. Gorky, who seen the way out of the crisis in social transformations, but also the poems of one of the people of the Russian symbolism D. Merezhkovsky:

So life with nothingness is terrible

And not even a struggle, not flour,

But only an endless boredom and quiet horror is full.

A. Blok's lyrical hero expressed the confusion of a person who leaves the world of familiar, established values \u200b\u200b"in the crude night" in the life of life:

Night, street, lantern, pharmacy,

Meaningless and dull light.

Live even though a quarter of a century -

Everything will be so. There is no outcome.

How scared all! How wildly! - Give me a hand, comrade, friend! Forgive again!

If the assessment of this artists were mostly unanimous, then the question of the future and the ways to achieve his achievements of contemporaries were answered in different ways. The symbolists went into the "Palace of Beauty" created by the creative imagination, in the mystical "worlds of others", to the music of verse. Hope to the mind, talent, the active principle of man was laid by M. Gorky, who felt in his works of human power. The dream of a man's harmony with the world of nature, about the healing power of art, religion, love and doubt about the possibility of incarnation of this dream, I. Bunin, A. Kompani, L. Andreeva. "The voice of the street by Julia" felt like a lyrical hero V. Mayakovsky, who took the whole severity of the rebellion against the foundations of the universe ("Down!"). The ideal of Russia is "Birch Citz countries", the idea of \u200b\u200bthe unity of all living things in verses S. Yesenin. With faith in the possibility of a social reorganization of life and the call of their own hands, proletarian poets were made by the "happiness". Naturally, the literature gave their answers is not in the form of logical, although the publicistic statements of writers, their diaries, memories, without which it is impossible to present the Russian culture of the beginning of the century. A feature of the era was the parallel existence and struggle of literary directions that united writers close to the ideas about the role of creativity, the most important principles of the comprehension of the world, the approaches to the image of the personality, preferences in the choice of genres, styles, forms of narration. Aesthetic manifold and sharp dispersion of literary forces became a characteristic feature of the literature of the beginning of the century.

1. How do you understand the meaning of the definition of the "silver age"? Are there any common features in the literature of the XIX century. And in the literature of the beginning of the century XX? Is the concepts of "literature" of the Silver Century "" and "Literature of the Studge of Century"?
2. Tell us about the conditions in which the literature of the turn of the XIX-XX century developed. How do you understand the term "historical consciousness" of literature?
3. Did you think, in your opinion, the development in the literature "Silver Century" the humanistic theme of a "little man"? Confirm your idea to specific examples. Remember the works of A. Kurin (for example, "pomegranate bracelet", "White Poodle", "Gambrinus"), M. Gorky ("Konovalov", "at the bottom") and others.
4. Pick out the material for the writings "Duma about Russia" in the works of writers of the beginning of the XX century. "
5. Give the characteristics of the two main literary directions of the beginning of the XX century. - Realism and modernism. In the preparation of this task, the material of the following chapters will help you.

Here were looking for:

• literature of the late 19th early 20th century
• the overall characteristics of Russian literature of the late 19th early 20th century
• literature of the late 19th century

As a result of the study of this section, the student must:

• – know the originality of the specified period as the era of the approval of the worldwide importance of Russian literature; The role of artistic geniuses in the historical and literary process of this pore; Dialecticity of writing searches: the truth of the artistic image of life and the highest spirituality, elitism and democratism, the religious and moral aspirations of writers and others;
• – be able to define common patterns peculiar to this literary period; Justify the analysis of the artistic specificity of the work; indicate examples of innovative solutions of writers in the form of form;
• – own the conceptual apparatus associated with the study of the historical and literary process of the Epoch and the change of its genre benchmarks; the ability to distinguish between the concrete analyzes of the work of the truth of life and the truth of the artistic fiction; methods of the study of the author's poetics or a separate work.

In applied to the history of Russian classical literature "End of the Century" - the concept of somewhat conditional. First, it is not just a chronological definition, i.e. two to three recent decades, and rather the temporary space of the literary process, marked common laws covering the period 1860-1890s. Secondly, this literature comes out at all outside the XIX century, taking a whole decade already new, XX century in its orbit.

The uniqueness of this period lies in a number of phenomena. First need to be noted intensity The historical and literary process at different points of its formation. This process had two waves, two powerful splash. At the beginning of the century - Pushkin, in which, according to A. N. Ostrovsky, Russian literature rose for a whole century, as he brought it to a new level, synthesizing the previous epochs of its development in his creative impulse. The second wave accounted for the end of the century and turned out to be associated with three names: Tolstoy, Dostoevsky, Chekhov. This Great Trinity, quite in the Russian spirit, with a huge, affecting the imagination of concentration, concentrated creative energy The final of the century and the highest takeoff of Russian genius was noted.

Patriotic literature first received at this time world confession. The midnight, the "barbaric" Russia, without a single civilized drop of blood in the veins, was condescending about it, suddenly put forward the literature, which caught up with the star of the first magnitude and forced to be considered with him, the dictation of the highest aesthetic and spiritual norms of world writers. It began with Tolstoy and Dostoevsky and was a huge conquest of Russian culture, then Czechs followed, but not only with prose, and also with the drama, which committed a whole coup in this kind of creativity.

Previously, Russian literature Nora has drawn benevolent attention (for example, Turgenev), but such universal, enthusiastic worship never existed. In February 1886, a witty genre sketch appeared in the French magazine "Revue Illustree", which belonged to Mauris Bares and testifying to the turnover of Europeans: "Everyone knows that for two months, as a person who is characterized by good taste and awareness, exclaims from the first steps. Greetings: "Ah, Mone, do you know these Russians?" You take a step back and say: "Oh, this Tolstoy!" The class, which heats up, responds: "Dostoevsky!" "The world recognition was conquered by the literature of the century. After the death of Dostoevsky passed only five years, and Tolstoy continued the writer in the Casual Polyana, preparing for the creation of the Third Roman - "Resurrection".

However, this phenomenon was only consequence The efforts of several generations of Russian writers. In 1834, Gogol, during the life of Pushkin, published an article about him (in Mirgorod), noting: "Pushkin - a Russian man in its complete development, which he will be in two hundred years." A little more than 30 years have passed, as a book was published in Moscow, which brought all attention to himself, and soon it became clear that another genius of the Renaissance warehouse was appeared, born, like Pushkin, Russia. The book of this was the novel "War and Peace", the author - Count L. N. Tolstoy. Essential - and not random - it was also that, without exception, the XIX Cornery Classics without exception. Pushkin considered their forerunner. In other words, Russian literature of this period could take such a place and playing such importance in world culture because it relied on tradition preceding literature.

Another feature of the literary process is energy Manifestations of creative efforts that brought the most different writing individuals in an intense fracture. For example, in 1862, "the crime and punishment" of Dostoevsky and "1805" L. N. Tolstoy (the magazine of the beginning of the future "war and the world") was printed in the "Russian Herald" (a coffee version of the future "war and the world"), i.e. Two great novels under one journal cover. Even earlier, at the end of the 1850s. Agreement was concluded by a number of writers about the publication of their works in the magazine "Contemporary". The authors were parties to the Agreement, who after two or three decades became recognized by the Great and Brilliant Masters, Turgenev, Ostrovsky, Goncharov, Nekrasov, Tolstoy. In the 1880-1890s. The works of Turgenev, Tolstoy, Korolenko, Chekhov printed in the journal "Northern Vestnik".

The characteristic peculiarity of the considered literary process is also traced in its vertical cut. This coordinate system gives an idea of \u200b\u200bthe extraordinary brightness and surprise. conjugation When developing writers of close topics, ideas, images. The beginning of the 1860s. It was noted by the appearance of "anti-naturalistic" works: novels "Nochda", "on the knives" N. S. Leskova and "Exchange Sea" by A. F. Pisemsky, unfinished comedy "Infected family" L. N. Tolstoy. In 1868, Drama A. N. Tolstoy "Tsar Feodor John" and Roman F. M. Dostoevsky "Idiot": and there, and here - the heroes of one warehouse but the worldview and the nature of the impact on others. In 1875, when Nekrasov, struggling with painful physical and moral suffering, wrote his "latest songs", L. N. Tolstoy worked hard on Anna Karenina, already knowing the tragic final, which was waiting for the heroine of the novel.

Undoubtedly, this period was celebration of realism, Alone, however, literally likelihood. The loyalty of life was approved as an unconditional law of creativity, the retreat from her at least in detail, the details were confirmed, from the point of view of masters, or the weakness of talent, or hasty, coarse work. L. N. Tolstoy expressed this idea in paradoxical form, noticing that the art of the most objective of the science itself, in which there is the possibility of gradually approaching the truth in the wording specifying this or that pattern. In art, it is impossible, because there is no choice for the artist: what he creates, or truth, or a lie, the third is not given.

However, with an indispensable requirement of loyalty of life, literature of this pore went on bold experiments Far closing ahead and preceding the innovations of avant-garde art. Life truth is completely and near the truth of art. For example, a moment might turn into a unimprovant bulky, extensive space of the narration (the death of the Captain Prakuchina headquarters in the story of the Tolstoy "Sevastopol in May" and the Episode of Russia's Episode of Prince Bolkonsky in the "War and the World") or a contradiction arose between the copyright and perception of the hero (the obvious discrepancy The expositions of the "Chamber No. 6" with the final, where Ragin sees what the author of the narrator should be said when describing the launched hospital courtyard in front of the field, where the evil-eyed building was sublined - prison, but did not say, thereby creating unexpectedly powerful emotional and a dramatic splash in the conclusion of the story). Often it was destroyed not just vital truth, but also the laws of the genre. For example, the objective manner of the romance narration was replaced by demonstrative invasions of the author, who, using the right of Demiurge-Creator, often left a plot movement, a story about fictional faces and directly addressed the reader, explaining himself in detail himself and his heroes (favorite Roman Reception of Dostoevsky and L. N . Tolstoy).

Ultimately, it was a manifestation of freedom of creativity, "freedom in the choice of inspiration", as Dostoevsky said, and opened a space for artistic innovations.

Finally, the characteristic feature of the historical and literary process is, of course, in its highest manifestations - the cult was dominated in the realistic method spirit, spirituality. "Art," noted L. N. Tolstoy in one of the diary records, "there is a microscope that the artist leads to the secrets of his soul and shows these common people to all people." The decisive fate of literary works was the scale of ideas and the perfection of their embodiment, which was demonstrated by cylindowns of this pore.

Such a level did not reach representatives of other literary flows developed at the same time. From fiction democratic Directions (N. V. Uspensky, N. G. Pomleyovsky, F. M. Reshetnikov, V. A. Sleptsov, A. I. Levitov), \u200b\u200bwriters petrol Orientation (the most bright among them was G. I. Uspensky), from literature, grasping sharpness "Current moment"In public life (in fiction - P. D. Boborykin, I. N. Potapenko, in Dramaturgia - V. A. Krylov, also distinguished by incredible fecundity), nothing has been preserved or remained separate works as bright documents of the era and outstanding literary phenomena. (stories and essays G. I. Uspensky, V. M. Garshin, Romans D. N. Mamin-Sibiryaka); at best, they became the subject of special research.

However, the literature of the end of the XIX century. marked inherent in her special dramatic To some extent tragic. The takeoff of her success coincided with the care of the lives of great writers. Turgenev, as if prefabricating the close end of the path, turned to the "poems in prose" and managed to prepare a carefully refined "Hunter's Notes". Others were pulled out of life in the midst of the implementation of creative designs. Dostoevsky, who created almost simultaneously "Karamazov brothers" and speech about Pushkin, who brought him huge popularity, continued the "writer's diary", who had enjoyed great success in recent years. Chekhov, who achieved the world famous fame and playwright, died in the heyday of forces - at 44 years.

Thus, the highest wave of literary lift turned out to be marked by losses. At the end of the XIX - early XX century. It happens not just a change of generations: artistic achievements remain, but they leave the creators one after another. There is a new time for the development of the historical and literary process - the era of Russian literature, but already the XX century.

From what moment to count the 20th century? Chronological frontier - from 1900 - 1901. But it does not give almost nothing in the sense of the distinction of the era. The first turn of the new century is the revolution of 1905. The revolution passed, some calm came - until the First World War. Ahmatov recalled about this time in the "poem without a hero": but on the embankment legendary, not the calendar, the real twentieth century was approaching ...

The overall characteristic of the era of N at the turn of the epoch was otherwise the globility of a person who understood that the previous epoch was irretrievably. The socio-economic and general cultural perspectives of Russia began to be estimated completely different. The new era was determined by contemporaries as "border".

The overall characteristics of the era N became the story of the former forms of life, labor, socio-political organization. Radically revised the established, which seemed before the unchanged, system of spiritual values. It is not surprising that the edge of the era symbolized the word "crisis." This "fashionable" word nomaded on the pages of journalistic and literary and critical articles on par with loved ones by the words "Revival", "Fracture", "Crossroad", etc.

A CRISIS? ? ? If there are ideas of time, that is, and the forms of time V. G. Belinsky

The end of the XIX century exposed the deepest crisis phenomena in the economy of the Russian Empire reform of 1861 by no means decided the fate of the peasantry that dreamed of "earth and will". This situation led to the emergence of a new revolutionary teaching in Russia - Marxism, which made a bet on the growth of industrial production and a new progressive class - proletariat. In politics, this meant the transition to the organized struggle of the cohesive mass, the result of which was to be the violent overthrow of the state system and establishing the dictatorship of the proletariat. The former methods of populifier populists and populists finally moved into the past.

The First World War turned into a catastrophe for the country, pushing it to an imminent revolution. February 1917 and the exhaustion that followed him led to the October coup. As a result, Russia gained a completely different person. n Throughout the end of the XIX - early XX century, tragic social contradictions were the main background of literary development, as well as a dual combination of difficult economic modernization and revolutionary movement.

Changes in the whole rapid pace took place in science, the philosophical ideas about the world and man were changing, close to the literature of art were growing rapidly. Scientific and philosophical views in certain stages of the history of culture are radically affecting the creators of the Word, which sought to reflect the paradoxes of time in their works. N.

Why and how does literature change? Literary crime answers this question from the present, analyzing the past. Writers, creating in the present, even if you describe the past, try to comprehend and show the future emerging in the present.

XVIII century New Russian literature was born in the 18th century and embodied on his pages of a person individual, living. n man becomes a central figure of social life, and the literature begins to be a deep study of N

XIX century N N N Writers of the 19th century embodied the inner world of a person against the background of real life paintings, and the historical time was the necessary basis for creating an artistic image. The works showing the "History of the Soul" of a person, its development in time. Main theme of the century: hero and time or person and society

Writer, if only he is a wave, and the ocean - Russia, can not be indignant when the element is outraged. Writer, if only he is the nerve of the Great People, can not be not amazed when freedom is amazed. Ya. P. Polonsky

The emergence of new heroes of N historical transformations (war, revolution) could not but affect art. In search of ways to exit crisis, writers began to look for special people and withdraw them on the pages of their books. Such who are able to prevent the country's slipping into the abyss.

"The poet in Russia is more than the poet" (E. Evtushenko) When art figures take a revolution as a way to reorganize life, a new era is born, and with it new artistic thinking, new problems N appear literary manifestos, which unites nihilism - the absolute denial of the past . N.

Time stopped. Does a person in such an era? N n It is necessary to fight, fight, create new arts, reorganize life. The new "picture of the world" sacrifices in detail. Therefore, laconic forms occur capable of revealing the deep essence of the phenomenon. The personality of a person is depicted in the dramatic collision with all the opposing hostile world

Man - as the center of the literary universe is inferior to his element of the element of the element and evolution incompatible N real people no longer, since there is no historical time, but there is a time absolute (aesthetic) n. The soul of a person occupies a public function n. The general becomes significant

Proletarian poets boldly, comrades, in foot! I fix in the fight in the fight, in the kingdom of freedom, I will carry my boys! L. Radin We are blacksmiths, and the spirit of our young, we go to the happiness keys!. . Give up above, heavy hammer, in the steel breasts are stronger than knocking! F. Shkule

A man in the work of poets-modernists is a hurried spirit, the earth is broken, herself forgetting and forgotten God ... only a dream, - and again the woven you rush to swell from the v. Solovyov

The fate of realism N at the origins of the realistic literature of the 20th century are A. P. Chekhov and M. Gorky. They determined the issues and directions for the development of realistic literature

The dilemma "be better" or "better live" the opening of the realism of the 20th century "be better" does not give the environment or its own weakness, and "better live" means to live with a broken humanity or even lose it. N Psychological drama of a person losing human qualities determines the tragedy of many works N

The realism of the 20th century is increasing the interest in the deep internal processes of human peace of mind, to psychological shifts and transitions of states and sentiment of heroes. n Large genre shapes are inferior to small. In the first place the genre of the story N

The realism of the XX century in the works is reflected in the ability of the personality to resist the environment, the mechanisms of the influence of society are revealed, time per person. The deepening and improvement of the principles of psychological analysis takes place. N Authors: A. Chekhov, M. Gorky, V. Garshin, A. Kookin, V. Veresaev, L. Andreev, I. Bunin N

The beginning of the XX century is a stormy, bright, dramatic time. The heyday of poetry in the work of modernists, the discoveries of writers in prose, the yield of Russian realistic drama on the global level

Introduction

In Russia, the late 19th - early 20th centuries. In the period of "unheard of change" and "unprecedented rebellions", scientific and technological progress and acute political cataclysms, there were deep and serious changes in art that determined new and unique paths of its development.

On the one hand, the art of that time is a refusal of old artistic traditions, an attempt to creatively rethink the heritage of the past. Never before the artist was so free in his work - creating a picture of the world, he received a real opportunity to focus on his own taste and addiction.

The culture of the late 19th - early 20 centuries of multifaceted. Sometimes it seems to be a continuous pinch of styles, directions, flows and schools, at the same time interacting and configuring among themselves. The experienced shocks, war, changes in the social structure, the trends of new values \u200b\u200band the aspirations of the West, the increasing interest of society in science and art - all this greatly affected the development of the culture of the time. The tide of the creative energy, the appearance of new genres, the change and complication of the works of the new era, which is called the Silver Age.

This period is still of great interest both for professionals and ordinary art lovers. My goal is to consider in detail the literature, visual arts, architecture and theatrical art of that era, since these directions of culture give the most accurate understanding of the essence of the Silver Age. I would like to consider and classify the main flows, allocate specific genres from them and describe their brightest features. Also, my task is to list the main cultural figures that have contributed to the development of a particular type of art.

Literature of the late 19th-early 20th centuries

Symbolism

The beginning of the epoch of the silver century was made by symbols; Symbolism has become the first significant modernist course in Russia. All changes in literature, new schools and flows are partly under his influence, even those that are conflicted to him. In Russian symbolism there is no unity of concepts, he had no uniform school, nor a single style, he was expressed in the abundance of self-expression methods. And united the symbols of mistrust to everyday and banal, the desire to express their thoughts through the symbols and allegories, be it visual art or literature; The desire to betray their creation is even more foggy, ambiguous color.

Initially, Russian symbolism has the same roots as the western - "crisis of positive worldview and morality." The desire to replace morality and the logic of aesthetics, the provision that "beauty will save the world" became the basic principle of early Russian symbols, as opposed to the ideology of population. At the end of the 19th century, the intelligentsia and Bohemia, with some anxiety, taped into the future, not drowned anything good, perceived symbolism as a sip of fresh air. He became increasingly popular and more popular, engaging more and more talented people who, each possessing his unique look at things, and made symbolism with such many pickers. The symbolists have become an expression expression on spiritual freedom, tragic premonition of future change, symbol of confidence in proven centuries-old values. The feeling of disadvantage and instability, fear of change and unknownness united such different philosophies and attitude towards people's lives. Symbolism is an amazing collection of many individuals, characters, intimate experiences and impressions that are stored deep in the soul of the poet, writer or artist. Only only a feeling of decline, nostalgic moods, melancholy combines many people in one.

Attokov symbolism in St. Petersburg stood Dmitry Merezhkovsky and his wife Zinaida Hippius, in Moscow - Valery Bryusov. The motifs of tragic closetness, abundance from the world, the volitional self-affirmation of the personality can be traced in the works of Hippius; Public orientation, religious and mythological stories - at Merezhkovsky; The balance of the opposite, the struggle for life and humility before death permeates the work of Bruce. The poems of Konstantin Balmont become very popular, which declared his characteristic "search for compliance" with the symbolists between sound, meaning and color. Balmont's passion for sound wrinkles, colorful adjectives that displacing verbs, leads to the creation of almost "meaningless", according to ill-wishers, texts, but this phenomenon later leads to new poetic concepts.

A little later develops the course of junior symbols that created romantic colored circles in which, having exchanged experiences and ideas, they honed their skills. A. Blok, A. White, V. Ivanov and many others paid great attention to moral and ethical ideals, trying to combine the interests of society with their own.

Literature and art at this time experienced a stormy rise, old styles were reborn, new appeared, and it is impossible to determine exactly where the one ended and the other, the borders were essential and foggy, all the vitals in the air.

The history of symbolism is very tragic, as well, and the history of many other genres. At first, the symbolism was encountered more than cold - unadapted to Russian society, not related to the land and the people of the work were incomprehensible to wide masses, and practically raised to laughter. After a short period of heyday, the symbolists begin to form innovative trends with more landed and rigid principles. In the last decade, the symbolism was experiencing a crisis and decline. Part of the symbols did not adopt the 1917 revolution and were forced to immigrate from the country. Many continued to write, but symbolism inexorably faded. Those who remained in the country waiting for the rethinking of previous values. The symbolist has nothing to make a living in post-revolutionary Russia.

At the beginning of the 20s, several centers of Russian emigration were formed, including in Paris, Prague, Berlin, Harbin, Sofia. Taking into account the conditions of this or that country, the foundations of the cultural life of the Russian diaspora were formed. The culture of Russian emigration was based on the traditions of classical culture. With its task, these people considered the preservation and development of Russian culture. In the establishment of the spiritual life of the emigration, Russian newspapers played a prominent role, they were issued about hundreds. In countries such as Czechoslovakia, Bulgaria opened the educational institutions of the Russian Diaspora. In Berlin, there were good conditions for the publication of the works of emigrant authors. In the environment of foreign intelligentsia, various ideological and political trends arose, which reflected the search for the Renaissance of Russia and its culture, one of these flows - Eurasianism.

Complication of the international situation in the 30s has contributed to the resumption of disputes on the fate of Russia and the possibility of returning to their homeland in the medium of emigrants. Returned to the USSR writer A. Kookin, poetess M. Tsvetaeva. But the strengthened totalitarian system forced many to refuse the thought of returning home.