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.

In the late 19th - early 20th century, all parties of Russian life are radically transformed: politics, economics, science, technology, culture, art. There are different, sometimes directly opposite, assessing the socio-economic and cultural prospects for the development of the country. The overall feeling of the advent of the new era, carrying the change of the political situation and the revaluation of the former spiritual and aesthetic ideals. Literature could not not respond to indigenous changes in the life of the country. There is a review of artistic benchmarks, a cardinal update of literary techniques. At this time, Russian poetry is especially dynamically developing. A little later, this period will be called the "Poetic Renaissance" or the Silver Age of Russian Literature.

Realism at the beginning of the 20th century

Realism does not disappear, it continues to develop. L.N. is still actively working. Tolstoy, A.P. Chekhov and V.G. Korolenko, M. Gorky, I.A. Bunin, A.I. Kubrin ... As part of the aesthetics of realism, we found a bright manifestation of the creative individuality of writers of the 19th century, their civil position and moral ideals - the views of the authors separating Christian, primarily, were equally affected by the views of the authors who divine Christian, - from F.M. Dostoevsky to I.A. Bunina, and those for whom this world is alien - from V.G. Belinsky to M. Gorky.

However, at the beginning of the 20th century, many aesthetics of realism were no longer satisfied - new aesthetic schools begin to emerge. Writers are combined into different groups, put forward creative principles, participate in controversy - the literary flows are approved: symbolism, acmeism, futurism, immudy, etc.

Symbolism at the beginning of the 20th century

The Russian symbolism, the largest of the modernist currents, was born not only as a literary phenomenon, but also as a special worldview, connecting the artistic, philosophical and religious principle. The date of the new aesthetic system is considered to be 1892 gobles when D.S. Merezhkovsky made a report "On the reasons for decline and about the new currents of modern Russian literature." In it were proclaimed the main principles of future symbolists: "Mystical content, symbols and expansion of artistic impressionability." The central place in aesthetics of the symbolism was allocated to the symbol, the image having a potential inexhaustibility of meaning.

The rational knowledge of the world symbolists opposed the design of the world in creativity, knowledge of the surrounding through the art, which V. Bryusov defined as "the might of the world by other, not rational ways." In the mythology of different nations, the symbolists found universal philosophical models, with the help of which it is possible to comprehend the depths of the human soul and the solution of spiritual problems of modernity. With particular attention, representatives of this area also treated the heritage of Russian classical literature - new interpretations of the creativity of Pushkin, Gogol, Tolstoy, Dostoevsky, Tyutchev were reflected in the works and articles of symbols. Symbolism gave culture the names of outstanding writers - D. Merezhkovsky, A. Blok, Andrei White, V. Bolsova; Aesthetics symbolism had a huge impact on many representatives of other literary flows.

Axism at the beginning of the 20th century

Aqmeeism was born in Lona symbolism: a group of young poets first founded the literary association "Poets shop", and then proclaimed themselves by representatives of the new literary flow - aqmeism (from Greek. AKME is the highest degree of something, flourishing, top). His main representatives - N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam. Unlike the symbolists seeking to know the unrecognizable, comprehend the higher entities, the ameists again turned to the values \u200b\u200bof human life, the diversity of the bright earthly world. The main requirement for the artistic form of works was the picturesque form of images, an derived and accurate composition, a stylistic equilibrium, the deposit of parts. The most important place in the aesthetic system of values \u200b\u200bof the amethers drew memory - categories associated with the preservation of the best domestic traditions and world cultural heritage.

Futurism in the early 20th century

The derogatory reviews of the previous and modern literature were given representatives of another modernist flow - futurism (from Lat. Futurum - the future). Its representatives considered the existence of this literary phenomenon of his representatives to the atmosphere of the Epatage, call to the public taste, literary scandal. Futurist thrust for mass theatrical actions with dressing up, painting people and hands was caused by the idea that poetry should get out of books on the square, to sound in front of the audience the listeners. Futurists (V. Mayakovsky, V. Khlebnikov, D. Burluk, A. Krichynye, E. Guro, etc.) put forward the world's transformation program with the help of new art abandoning the heritage of predecessors. At the same time, in contrast to representatives of other literary flows, in justification of creativity, they relied on fundamental sciences - mathematics, physics, philology. The formal-style features of the poetry of futurism was the update of the meaning of many words, the wording, the refusal of punctuation marks, the special graphic design of the poems, the depopetization of the language (the introduction of vulgarianism, technical terms, the destruction of the usual boundaries between "high" and "low").

Output

Thus, in the history of Russian culture, the beginning of the 20th century is noted by the emergence of diverse literary flows, various aesthetic views and schools. However, original writers, genuine artists overcome the narrow framework of the declarations, created highly artistic works, who survived their era and entered the treasury of Russian literature.

An essential feature of the beginning of the 20th century was universal traction to culture. Not to be at the premiere of the play in the theater, not attend the evening of the original and already sensational poet, in literary living rooms and salons, not to read the released poetic book was considered a sign of a bad taste, inexpressible, not fashionable. When culture becomes a fashionable phenomenon - this is a good sign. "Fashion for culture" - no new phenomenon for Russia. So it was in time V.A. Zhukovsky and A.S. Pushkin: Let us remember the "green lamp" and "Arzamas", "Society of Russian Literature Lovers", etc. At the beginning of the new century, exactly after a hundred years, the situation was practically repeated. The Silver Age came to change the century of gold, supporting and maintaining the connection of times.

Advanced Russian literature has always performed in defense of the people, always sought truthfully to highlight the conditions of his life, show his spiritual wealth - and its role in the development of the self-consciousness of the Russian man was exclusive.

Starting from the 80s. Russian literature began to be widely penetrated abroad, amazing foreign readers with his love for man and faith in him, his passionate chlorination of social evil, his indestructible desire to make life more just. The readers attracted the Russian authors to create widespread paintings of Russian life, in which the image of the fate of the heroes was hung with the formulation of many indigenous social, philosophical and moral problems.

By the beginning of the XX century. Russian literature began to be perceived as one of the powerful flows of the global literary process. Noting in connection with the centenary anniversary of Gogol, the unusualness of Russian realism, English writers wrote: "... Russian literature became a torch, brightly luminous in the darkest angles of Russian national life. But the light of this torch was far beyond Russia, he lit up the whole of Europe. "

The highest art of the word Russian literature (in the face of Pushkin, Gogol, Turgenev, Dostoevsky, Tolstoy) was recognized due to a peculiar attitude towards peace and man disclosed by original artistic agents. As something new, the Russian psychologism will be perceived, the ability of Russian authors to show the relationship and the conditionality of social, philosophical and moral problems, the genre discharge of Russian writers who created the free form of the novel, and then the story and drama.

In the XIX century Russian literature took a lot from world literature, now she generously enriched her.

Having become the property of a foreign reader, Russian literature widely acquainted him with a little-known vital activity of a huge country, with spiritual requests and social aspirations of her people, with his difficult historical fate.

The importance of Russian literature on the eve of the first Russian revolution was even more increased - as for the Russian (significantly grew in its number), GAK and the overseas reader. Very significant words V. I. Lenin in the work "What to do?" (1902) On the need to think about the worldwide meaning, which is now acquired by Russian literature. "

And the literature of the XIX century, and the newest literature helped to understand what exactly was promoted by the pivoting of the explosion of the people's wrath and what is the general state of modern Russian reality.

The merciless criticism of the state and social foundations of the Russian life L. Tolstoy, Chekhov's image of the daily tragism of this life, searching for a bitter-true hero of the new story and his call "Let the storm gets stronger!" - All this, despite the difference in the writer worldview, said that Russia was on a steep fracture of his story.

1905 marked the beginning of the "end of" East "immobile", in which Russia was staying, and the foreign reader was looking for an answer to the question of how all this happened, in the most accessible source - Russian literature. And it is quite natural that special attention has now become attracted by the work of modern writers, reflecting the mood and social aspiration of the Russian society. At the turn of the centuries, the translators of fiction with great attention followed what works are the greatest success in Russia, and in a hurry to translate them to Western European languages. Exit in 1898-1899. Three volumes of "essays and stories" brought the Gorky All-Russian Glory, in 1901 he is already a European writer.

At the beginning of the XX century. It was already undoubtedly that Russia, a lot of historical experience of Europe, begins to play a huge role in the global historical process, hence the increasing role of Russian literature in the disclosure of changes in all regions of Russian life and in the psychology of Russian people.

"Teenager" in the European family of peoples was called Russia and Gorky Russia fulfilling; Now, this teenager turned into a gigan, called after him.

In the articles V. I. Lenin about the Tolstoy, it was shown that the global significance of his work (Tolstoy was already recognized as a world genius) inseparable from the world importance of the first Russian revolution. Considering the fat man as an express man and the aspirations of the patriarchal peasantry, Lenin wrote that Tolstoy with a wonderful force showed "the features of the historical originality of the entire first Russian revolution, its strength and its weakness." At the same time, Lenin clearly identified the boundaries of the material, subject to the image of the writer. "The epoch, to which L. Tolstoy belongs, he wrote, - and which was remarkably relief reflected both in his ingenious artworks, and in his teaching, there is an era after 1861 and until 1905."

The creativity of the largest writer of the new century - Gorky, who reflected the third stage of the liberation struggle of the Russian people, which led him to 1905, and then to the socialist revolution, was indisputably connected with the Russian revolution.

And not only Russian, but the foreign reader perceived Gorky as a writer who saw the true historical figure of the XX century. In the face of the proletarian and showed how the psychology of labor masses change under the influence of new historical circumstances.

Tolstoy portrayed with an amazing force of Russia, which is already leaving in the past. But, recognizing the fact that the existing structure is taking off and that the XX century - century of revolutions, he still remained faithful to ideological basics of his teaching, his preaching of non-resistance to evil violence.

Gorky showed Russia, going to replace the old. He becomes a singer, new Russia. It is interested in the historical modifiability of Russian, the new psychology of the people, in which, in contrast to the preceding and a number of modern writers, he is looking for and reveals antisircial and volitional traits. And it makes Gorky creativity particularly significant.

The confrontation between the two large artists in this plan is a thick, which has long been perceived as the top of the realistic literature of the XIX century, and the young writer, reflecting in his work the leading trends of the new time, was caught by many contemporaries.

K. Kautsky's response is very characteristic of the novel "Mother" in 1907. "Balzac shows us, - wrote bitter Kautsky - more precisely any historian character of young capitalism after the French revolution; And if, on the other hand, I managed to understand the Russian affairs to some extent, then I do not have so much to Russian theorists as, perhaps, even more, Russian writers, especially Tolstoy and you. But if Tolstoy teaches me to understand Russia, which was, then your work teach me to understand Russia, which will be; Understand the forces that have new Russia. "

Later, saying that "Tolstoy more than any of the Russians, plowed and prepared the soil for a rapid explosion," S. Tsweig will say that still not Dostoevsky and not Tolstoy, who showed the world an amazing Slavic soul, and Gorky allowed the amazed West It is understood that and why it happened in Russia in October 1917, and the Gorkovsky Roman "Mother" will especially allocate.

By giving a high assessment of Tolstoy's creativity, V. I. Lenin wrote: "The epoch of the preparation of the revolution in one of the countries attached by the serfs, thanks to the brilliant lighting of Tolstoy, as a step forward in the artistic development of all mankind."

The writer, freshen with a large artistic force of the pre-revolutionary mood of the Russian society and the era of 1905-1917, was bitter, and thanks to this coverage, the revolutionary epoch ended by the October Socialist Revolution, in turn, was a step forward in the artistic development of mankind. Showing those who walked to this revolution, and then performed it, Gorky opened a new page in the history of realism.

The new concept of man and social romanticism of Gorky, new coverage of the problem of "Man and History" problem, the ability of the writer to identify everywhere of the new sprouts created by him a huge gallery of people representing the old and new Russia - all this contributed to the expansion and deepening of the artistic knowledge of life. New representatives of critical realism contributed to this knowledge.

So, for the literature of the beginning of the XX century. It became characteristic of the simultaneous development of the realism of the critical, worker at the turn of centuries, the time of its update, but not losing its critical pathos, and the realistic realism. Noting this remarkable line of the literature of the new century, V. A. Keldysh wrote: "In the decor of the revolution 1905-1907. For the first time, the type of literary relationship, which was destined to play later such a significant role in the global literary process of the 20th century: the realism of the "old", critical develops simultaneously with socialist realism, and the emergence of signs of new quality in critical realism - in many respects of this interaction. "

Socialist realists (Gorky, Serafimovich) were not forgotten that the origins of a new image of life go back to the artistic quests of such realists as Tolstoy and Czechs, some representatives of critical realism began to master the creative principles of socialist realism.

Such coexistence will be characteristic later for other literature during the years of socialist realism in them.

Gorky noted as the originality of the Russian literature of the last century, the simultaneous blooming of a significant number of large and inconsistent tissues was characteristic of the new century's literature. The work of its representatives is developing, as in the previous period, in close artistic relationships with Western European literature, also discovering its artistic originality. As well as the literature of the XIX century, it enriched and continues to enrich world literature. Especially significant in this case, the creativity of Gorky and Chekhov. The sign of the artistic discoveries of the writer-revolutionary will develop Soviet literature; His artistic method will also have a great influence on the creative development of the democratic writers of the foreign world. The innovation of Chekhov was recognized abroad not immediately, but since the 20s. It turned out to be intensive learning and mastering. World Glory first came to Chekhov-playwater, and then to Chekhov-Prosaika.

An innovation was also noted the creativity of a number of other authors. Translators, as we have already spoken, were given in the 1900s. Caution as works by Chekhov, Gorky, Korolenko and works of writers who nominated on the eve and during the first Russian revolution. They especially followed the literators grouping around the publishing house "Knowledge". A wide fame, L. Andreeva responded abroad to the Russian-Japanese war and on the rampant of the Tsarist Terror ("Red Laughter", "Story about seven hanged"). Interest in the prose of Andreeva did not disappear and after 1917, the trembling heart of Sasha Zaguleva found an echo in the distant Chile. The young student of one of the Chilean Lyceums Pablo Neruda will sign the name of the Andreev Hero, elected to them as a pseudonym, his first big work "Festive Song", which will receive a premium at the Spring Feast in 1921

Andreeva's drama, anticipating the emergence of expressionism in foreign literature also received fame. In the "letters about the proletarian literature" (1914) A. Lunacharsky pointed to the roll-up of individual scenes and characters of the play by E. Barnavoli "Cosmos", with the play of Andreeva "King Hunger". Later, researchers will notify the impact of Andreev's drama on L. Pilandello, O'Nila and other foreign playwrights.

By the number of features of the literary process of the beginning of the XX century. An extraordinary diversity of dramatic searches should be attributed, take off dramaturgical thought. At the turn of the century, the theater Chekhov arises. And I did not have time yet, the viewer to master the innovation of the psychological Chekhov drama, as already appears, the new, social drama of Gorky, and then the unexpected expressionist drama Andreev. Three special dramaturgies, three different scenic systems.

Similarly, an interest in the old and new Russian music, the art of the Opera, Ballet, Decorative Painting also increases with a huge interest shown in Russian literature abroad at the beginning of the new century. Concerts and performances, organized by S. Dyagilev in Paris, performances of F. Shalyapin, played a major role in the initiation of this interest, the first trip of Moscow Art Theater abroad. In the article "Russian performances in Paris" (1913), Lunacharsky wrote: "Russian music has become a completely defined concept that includes the characteristic of freshness, originality, and above all huge instrumental skills."

History of foreign literature of the end of the XIX - early XX century Zhuk Maxim Ivanovich

The specificity of the literary process of the late XIX - the beginning of the twentieth century

All the complexity and inconsistency of the historical and cultural development of the ages of the ages affected the art of this era and, in particular, in the literature. Several specific features characterizing several specific features characterizing the literary process of the late XIX - the beginning of the twentieth century.

the literary panorama of the stroke of ages is distinguished by the exclusive saturation, brightness, artistic and aesthetic innovation. These literary directions and trends are developing as realism, naturalism, symbolism, aestheticism and neoromantism. The emergence of a large number of new directions and methods in art became a consequence of changes in the consciousness of a person of the stroke of centuries. As you know, art is one of the ways to explain the world. In the stormy era of the late XX - the beginning of the twentieth century, artists, writers, poets develop new ways and techniques of images of a person and peace to describe and interpret the rapidly changing reality.

Themes and problems of verbal art expands due to the discoveries made in different areas of knowledge (Ch. Darwin, K. Bernard, W. James). Philosophical and social concepts of peace and man (O. Kont, I. Ten, Spencer, A. Schopenhauer, F. Nietzsche) were actively transferred to many writers in the field of literature, their arms and poetics were determined.

Literature at the turn of centuries enriched in genre attitude. The large variety of forms is observed in the area of \u200b\u200bthe novel, which was represented by a wide range of genre varieties: science fiction (Hwells), socio-psychological (D. De Maupassan, T. Driver, D. Golsuorussi), philosophical (A. France, . Wilde), Social-Utopic (Uels, D. London). The popularity of the novel genre (de Maupassan, R. Kipling, T. Mann, D. London, O. Henry, A.P. Chekhov), is experiencing the rise of dramaturgy (Ibsen, B. Show, Hauptman, and . Strindberg, M. Meterlink, A.P. Chekhov, M. Gorky).

For new trends in the romance genre, the appearance of Roman-epic is indicative. The desire of the writers to comprehend the complex spiritual and social processes of their time contributed to the creation of dilogue, trilleged, tetral, multi-volume epic ("Ruggur-Makcara", "Three cities" and "four-day" E. Zola, Dilogy on Abbate Jerome Kuyazar and "Contemporary History" A . France, "Trilogy of desire" t. Drier, cycle about Forsyites D. Golsuorussi).

A significant feature of the literary development of the era of the stroke of centuries the interaction of national literature. In the last third of the XIX century, the dialogue of Russian and Western European literatures was designated: Creativity L.N. Tolstoy, I.S. Turgenev, F.M. Dostoevsky, A.P. Chekhov, M. Gorky, had a fruitful influence on such foreign artists, like the city of De Maupassan, D. Golzóworsi, K. Gamsun, t. Driver and many others. Problems, aesthetics and universal pathos of Russian literature turned out to be relevant to the Western Society of the Labery of the Central Commons. It was not by chance that during this period they were deepened and immediate contacts between Russian and foreign writers were expanded: personal meetings, correspondence.

In turn, Russian Proseiki, poets and playwrights with great attention followed the European and American literature, took the creative experience of foreign writers to weapons. As you know, A.P. Chekhov relied on the achievements of Ibsen and Gauptman, and in its novelist prose - on the city of De Maupassant. Undoubtedly the influence of French symbolist poetry on the work of Russian poets symbolists (K. Balmont, V. Bryusov, A. Block).

Another important part of the literary process of the stroke of ages - the involvement of writers in the events of political life. In this regard, the participation of E. Zol and A. France in Dreyfus, protest M. Twin against the Spanish-American War, support by R. Kipling Anglo-Board War, the anti-war position B. Show in relation to the First World War.

The unique feature of this literary era is the perception of being in paradoxes, What was particularly bright in the works of O. Wilde, B. Show, M. Twin. The paradox became not only a favorite artistic admission of writers, but also an element of their worldview. The paradox has the ability to reflect the complexity, ambiguity of the world, so it is no coincidence that it becomes such a sought-after element of the artistic work at the turn of the centuries. An example of a paradoxical perception of reality can serve as many plays B. Show ("House of Widset", "Profession Mrs. Warren", etc.), Novella M. Twena ("How I was chosen to the governors", "clock", etc.), aphorisms about . Wilde.

Writers expand the sphere of depicted In the artistic work. First of all, it concerns naturalist writers (J. and E. de Goncars, E. Zola). They appeal to the image of the life of the society (prostitutes, beggars, vagrants, criminals, alcoholics), to the description of the physiological aspects of human life. In addition to naturalists, the area of \u200b\u200bthe depicted poet symbolists (P. Verlene, A. Rabbo, S. Mallarm), who sought to express in the lyrical work an inexpressible content of being.

An important feature of the literature of this period is transition from an objective image of reality to subjective. For the creativity of many writers of this era (James, J. Konrad, J. - K. Gyuismans, R. M. Rilke, the late G. de Moopassana), it is paramounts to recreate an objective reality, but an image of the subjective perception of the world by a man.

It is important to note that interest in the area of \u200b\u200bthe subjective was previously marked in this direction of painting the end of the XIX century, as impressionism, I had a great influence on the work of many writers and poets of the stoken of centuries (for example, such as E. Zola, De Mallarm, P. Vellen, S. Mallarm, O. Wilde, etc.).

Impressionism (from Franz. impression - The impression) - the direction in the art of the last third of the XIX - the beginning of the XX century, based on the artist's desire to convey its subjective impressions, to portray the reality in its infinite mobility, variability, capture the wealth of the nuances. The largest artists-impressionists were ED. Mana, K. Monte, E. Degas, O. Renoir, A. Sisny, P. Cesann, K. Pissero, etc.

Impressionist artists tried do not portray the object, but transfer your impression from the object, those. Express subjective perception of reality. The masters of this direction sought unbiased and as much as possible and freshly fix the fleeting impression from the rapidly current, constantly changing life. Pictures of paintings for artists were secondary, they took them from everyday life, which was well known: urban streets, artisans at work, rural landscapes, familiar and all familiar buildings, etc. Impressionists rejected the canons on the academic painting and created their own.

The most important literary and cultural concept of the era of the stroke of centuries is decadence (Late. decadentia. - decay) - the general name of crisis, pessimistic, low-cost sentiment and destructive trends in art and culture. Decadence does not constitute a particular direction, flow or style, this is a general depressive state of culture, this is the spirit of the era, expressed in art.

The decadent features include: pessimism, reality, the cult of sensual pleasures, the loss of moral and moral values, the aesthetization of the extreme individualism, unlimited freedom of personality, fear of life, increased interest in the processes of dying, decay, the poetry of suffering and death. An important sign of decades is indispensable or mixing such categories as beautiful and ugly, pleasure and pain, morality and immorality, art and life.

In the most distinct form, the motifs of the decadence in the art of the late XIX - the beginning of the twentieth century can be seen in the Roman Z. - K. Gyuismans "On the contrary" (1883), O. Wilde "Salomew" play (1893), schedule O. Berdsley. Creativity D.G. was noted by separate features of Decadence. Rossetti, P. Vellen, A. Rambo, S. Mallarm, M. Meterlinka and others.

The name of the names shows that the mindset of the decadence touched upon the work of a significant part of the artists of the 19th-twentieth centuries, including many major art crafts, the work of which as a whole cannot be reduced to Decadence. Decadent tendencies are found in transitional era, when one ideology, having exhausted its historical capabilities, is replaced by another. Outdated type of thinking no longer meets the requirements of reality, and the other has not yet formed so much to satisfy socio-intellectual needs. This also gives rise to the mood of anxiety, uncertainty, disappointment. So it was during the period of decline of the Roman Empire, in Italy at the end of the XVI century and in European countries at the turn of the XIX and XX centuries.

The source of the crisis mentality of the intelligentsia of the 19th anniversary of the ages was the confusion of many artists in front of the sharp contradictions of the era, in front of the violent and paradoxically developing civilization, which was in the intermediate position between the past and the future, between the outgoing XIX century, and not yet at arrogant.

Completing an overview of the specific features of the literature of the stroke of centuries, it should be noted that the diversity of literary directions, genres, forms, styles, the expansion of the subjects, the problems and spheres of depicted, innovative changes in the poetic - all this was the result of a complex paradoxical nature of the era. Experimenting in the field of new artistic techniques and methods, developing traditional, the art of the late XIX - the beginning of the twentieth century tried to explain the rapidly changing life, choose the most adequate words and forms for dynamic reality.