Features of Russian literature at the turn of the 19th and 20th centuries. Russian literature at the turn of the 19th - 20th centuries

1. Literature at the turn of the 19th and 20th centuries. as a special literary era. The problem of re-evaluating the values ​​of Russian classical literature in the literature of the turn of the century. The concepts of decadence and modernism. 3

2. Socio-political, cultural-historical and philosophical-aesthetic context of literature at the turn of the century. Problems of the collection "Vekhi". five

3. New trends in the development of Russian art at the turn of the century. The main directions of the development of Russian literary criticism. 6

4. Ideological and artistic features of M. Gorky's work in the 1890s. Romance and realism in the style of Gorky. Early Gorky's Nietzscheism. eight

5. The main features of Gorky's drama of the 1900s. Analysis of one of the dramas (optional).

6. Play by M. Gorky "At the bottom": problematics, system of characters, artistic structure. Interpretation problems. 12

7. The stylistic outlines of A. Kuprin's prose: "Moloch", "Shulamith", "Yama" (other examples of different styles may be used in the answer).

8. Features of psychological realism A. Kuprin in the story "Duel". twenty

9. "Eternal" themes in Russian realism in 1910. Comparative analysis of the works of I. Bunin and A. Kuprin about love. 21

10. Poetry of I. Bunin. Expressive Possibilities of Bunin Lyrics. 24

11. Prose I. Bunin 1890−1900-ies. The artistic features of the Bunin short story. Bunin's subject art. 25

12. The image of the Russian national character in I. Bunin's stories about the village ("Village", "Sukhodol").

13. Modernist principles in the work of I. Bunin. Mentality 19 and

2. century in the artistic consciousness of the writer. thirty

14. Creativity I. Bunin in emigration ("Life of Arseniev", "Dark Alley").

15. Typology of Russian realism at the turn of the century. Naturalism, Expressionism and Impressionism as stylistic "admixtures" of realistic prose at the turn of the century. The creative image of one of the Znaniev writers (optional).

16. Literary phenomena of a complex aesthetic nature. The problem of neorealism at the turn of the century. Analysis of creativity B. Zaitsev, S. Sergeev-Tsensky, A. Remizov (optional).

17. The problem of naturalism in Russian literature at the turn of the century. M. Artsybashev's neonaturalism. 42

18. Stylish features of I. Shmelev's prose (for example, 1-2 works).

19. Evolution of L. Andreev's creativity: from "Christmastide" story to expressionist drama. The problem of the "transience" of his creative method. 47

20. Expressionist stylistics in the works of L. Andreev. Analysis of one of the writer's plays (optional).

21. The theme of the "little man" in the works of L. Andreev, A. Kuprin, I. Shmelev, F. Sologub. 51

22. Russian symbolism: the main stages of development and stylistic varieties. The basic concepts of the internal gradation of symbolism. 54

23. Impressionist lyrics by K. Balmont. Analysis of one of the poems (optional).

24. The poetic world of F. Sologub. Analysis of one of the poems (optional).

Analysis of Sologub's poem "I am the god of the mysterious world ..." 60

25. Evolution of creativity V. Brusov. Bryusov as the leader of symbolism. V. Brusov's neoclassicism. 61

26. Artistic features of I. Annensky's lyrics. Analysis of one of the poems (optional).

27. The aesthetic system of young symbolism: the concept of theurgicity, collegiality, “objectification of theurgic longing”, “fidelity to things”; color and numerical symbols. Creativity of Viach.Ivanov. 64

28. Artistic features of the poetry of Andrei Bely. Symphony genre in Bely's works. Analysis of one of the poems (optional).

29. The main stages of creative evolution of A. Blok. Russian theme in the work of the poet. 66

30. Early lyrics by A. Blok. Analysis of one of the poems of the first volume. 68

31. Problems and poetics of A. Blok's poem "The Twelve". The problem of interpreting the ending of the poem. 69

32. Symbolist prose. Analysis of two novels (optional) by D. Merezhkovsky, F. Sologub, A. Bely, V. Brusov. 70

33. The history of the organizational design of Russian acmeism. Acmeists as heirs of the Symbolists. 72

34. The evolution of creativity N. Gumilyov. Analysis of one of the poems (optional).

One of the brightest and most 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 would be more correct to call the "Silver Age" not all literature, but first of all poetry, as the participants in the literary movement of that era did themselves. Poetry, actively looking for new ways of development, for the first time after the Pushkin era at the beginning of the 20th century. came to the fore in the literary process.

However, at the turn of the XIX and XX centuries. Literature developed in different historical conditions than before. If you look for a word that characterizes the most important features of the period under consideration, then it will be the word crisis. Great scientific discoveries shook the classical ideas about the structure of the world, led to a paradoxical conclusion: "matter has disappeared." As E. Zamyatin wrote in the early 1920s, “exact science blew up the very reality of matter”, “life itself has ceased to be flat-real today: it is projected not on the former immobile, but on dynamic coordinates”, and the most famous things in this new projection they seem unfamiliar, fantastic. This means, the writer continues, and new beacons loomed before literature: from the depiction of everyday life to being, to philosophy, to the fusion of reality and fantasy, from the analysis of phenomena to their synthesis. It is fair, though unusual at first glance, that Zamyatin's conclusion that “realism has no roots”, if we mean “one naked image of everyday life” by realism. The 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 in its "modernity" (I. Bunin's definition). The outlined tendency towards the renewal of realism at the end of the 19th century. shrewdly noted V.V. Rozanov. “... After naturalism, reflection of reality, it is natural to expect idealism, penetration into its meaning ... The age-old currents of history and philosophy - this is what will probably become a favorite subject of our study in the near future ... Politics in the highest sense of the word, in the sense of penetrating into the course of history and influencing it, and Philosophy as the need of a dying soul eagerly clutching at salvation - this is the goal that irresistibly attracts us to itself ... ”, - wrote V.V. Rozanov (italics mine. - L. T.).
The crisis of faith had devastating consequences for the human spirit (“God is dead!” Exclaimed Nietzsche). This led to the fact that the man of the XX century. more and more he began to feel the influence of irreligious and immoral ideas, for, as Dostoevsky predicted, if there is no God, then "everything is permitted." The cult of sensual pleasures, the apology of Evil and death, the glorification of the self-will of the individual, the recognition of the right to violence, which turned into terror - all these features, testifying to the deepest crisis of consciousness, will be characteristic not only of the poetry of modernists. At the beginning of the XX century. Russia was shocked by the most acute social conflicts: the war with Japan, the First World War, internal contradictions and, as a result, the scale of the popular movement, revolution. The clash of ideas intensified, and polyeics were formed.

"Atlantis" - such a prophetic name will give the ship on which the drama of life and death will unfold, I. Bunin in the story "The Lord from San Francisco", emphasizing the tragic overtones of the work by describing the Devil watching human destinies.

Each literary era has its own system of values, a center (philosophers call it axiological, value), to which all paths of artistic creation converge in one way or another. History, with its unprecedented socio-historical and spiritual cataclysms, became such a center, which determined many of the distinctive features of Russian literature of the 20th century, which attracted everyone into its orbit - from a particular person to a people and a state. If also V.G. Belinsky called his 19th century, for the most part, historical, then this definition is all the more true in relation to the 20th century with its new attitude, the basis of which was the idea of ​​an ever-accelerating historical movement. Time itself again brought to the fore the problem of the historical path of Russia, forced to look for an answer to Pushkin's prophetic question: "Where are you galloping, proud horse, And where will you lower your hooves?" The beginning of the 20th century was filled with predictions of "unprecedented mutinies" and "unheard of fires", a presentiment of "retribution", as A. Blok prophetically says in his unfinished poem of the same name. B. Zaitsev's idea is known that everyone was hurt ("wounded") by the revolutionary spirit, regardless of the political attitude to events. “Through the revolution as a state of mind” - this is how the modern researcher defined one of the characteristic features of the “well-being” of a person of that time. The future of Russia and the Russian people, the fate of moral values ​​in a critical historical era, the connection of a person with real history, the incomprehensible "diversity" of national character - not a single artist could escape the answer to these "damned questions" of Russian thought. Thus, in the literature of the beginning of the century, not only was the traditional interest in history for Russian art manifested, but a 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 direct references to specific events, problems, conflicts, heroes in all works. History for literature is, first of all, its “secret thought”, it is important for writers as an impetus for thinking about the mysteries of life, for comprehending the psychology and life of the spirit of “historical man”. But the Russian writer would hardly have considered himself fulfilled his destiny if he had not searched for himself (sometimes difficult, even painful) and offered his understanding of the way out to a person in a crisis era.
Without the sun, we would be dark slaves, Outside of understanding that there is a radiant day. A person who has lost integrity in a situation of a global crisis of spirit, consciousness, culture, social structure, and the search for a way out of this crisis, striving for an ideal, harmony - this is how one can define the most important directions of artistic thought of a foreign era.

Literature of the late XIX - early XX century - the phenomenon is extremely complex, acutely conflict, but also fundamentally common, since all areas of Russian art developed in a common social and cultural atmosphere and in their own way answered the same difficult questions raised by time. So, for example, the idea of ​​rejection of the surrounding world is imbued not only with the works of V. Mayakovsky or M. Gorky, who saw the way out of the crisis in social transformations, but also the poems of one of the founders of Russian symbolism D. Merezhkovsky: So life is terrible for nothing,
And not even a struggle, not torment, But only endless boredom And full of quiet horror. The lyrical hero of A. Blok expressed the confusion of a man leaving the world of habitual, established values ​​"on a damp night", having lost faith in life itself:
Night, street, lantern, pharmacy, Senseless and dim light. Live for at least a quarter of a century - Everything will be like this. There is no escape.
How terrible everything is! How wild! - Give me your hand, Comrade, friend! Let's forget again!

While the artists were generally unanimous in their assessment of the present, contemporary writers answered the question about the future and ways to achieve it in different ways. The Symbolists went to the “Palace of Beauty” created by the creative imagination, to mystical “other worlds”, to the music of verse. M. Gorky, who glorified the power of Man in his works, placed his hope in reason, talent, and the active principle of man. The dream of man's harmony with the natural world, of the healing power of art, religion, love and doubts about the possibility of realizing this dream permeate the books of I. Bunin, A. Kuprin, L. Andreev. The lyrical hero of V. Mayakovsky felt himself to be "the voice of the street without a tongue", who took on his shoulders the whole weight of the rebellion against the foundations of the universe ("down with it!"). The ideal of Russia - "the country of birch calico", the idea of ​​the unity of all living things sounds in the verses of S. Yesenin. Proletarian poets came out with faith in the possibility of social reorganization of life and with an appeal to forge "the keys of happiness" with their own hands. Naturally, literature did not give its answers in a logical form, although the journalistic statements of writers, their diaries, memoirs, without which it is impossible to imagine Russian culture at the beginning of the century, are also extremely interesting. A peculiarity of the era was the parallel existence and struggle of literary trends that united writers, close ideas about the role of creativity, the most important principles of comprehending the world, approaches to the depiction of personality, preferences in the choice of genres, styles, forms of narration. Aesthetic diversity and a sharp demarcation of literary forces became a characteristic feature of the literature of the beginning of the century.

Kitsenko Zhanna Anatolyevna,
teacher of Russian language and literature
RCTK, Pushkin

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

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

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

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

Three revolutions in 13 years! No country knows such a revolutionary take-off, such rapid changes in political and social life, in the psychology of the people, which demanded a tremendous exertion of will, intelligence and courage.

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

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

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

For propaganda purposes, the revolutionaries made extensive use of works by foreign authors dedicated to the working class in workers' circles. Now the Russian writer has created a novel that has become a reference book for the domestic and foreign proletariat. "Maxim Gorky," wrote V. Lvov-Rogachevsky, who was a member of the Marxist criticism camp, "is a symbol, this is the name of an entire era marked by Gorky's mood."

Among the significant events in the literary life of the revolutionary years was the appearance of an article by VI Lenin "Party organization and party literature" (1905), which raised the question of contemporary literature.

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

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

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

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

Lenin's article caused a great resonance. Marxist criticism has adopted it (see the article by A. V. Lunacharsky "The Tasks of Social Democratic Artistic Creativity"). In 1906, the newspaper "Svoboda i Zhizn" (No. 11-13) published contradictory responses from writers of dissimilar social orientations to the proposed questionnaire "Literature and Revolution"; These answers were essentially responses to Lenin's speech.

The symbolists greeted this performance with irritation, especially intensely praising self-sufficient individualism in their early work. Bryusov immediately appeared in the journal Vesy (1905, No. 11) with a polemical article aimed at defending the artist's independent position.

In an indirect form, similar responses appeared in critical articles of the same "Libra"; they asserted that party art entails a fall in talent, that party spirit and aesthetics are incompatible concepts. And if AV Lunacharsky, relying on the new works of Gorky, says in 1907 that an innovative type of socialist literature has emerged, then the critic of the Symbolist camp D. Filosofov will publish the article "The End of Gorky" in the same year.

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

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

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

They were not only witnesses, but also chroniclers of the time when it was not lone individuals who were socially seeing the light, but huge masses of the people. The Znanievites were the first to display this process, so complex and unusual for Russian reality.

Depending on their ideological positions, modern critics called Znan'ev's realism - perceived by them as a special realistic trend, as the "Gorky school" - "militant", "red" or "directional".

Some noted the innovation of the Znanievites, emphasizing, however, the insufficient artistic depth of their discoveries; others believed that rhetoric and journalism overshadowed their artistic origin. There were also many who did not accept the ideological essence of Znan'ev's work. But on the whole, criticism was forced to admit the enormous popularity of the "Collections of the Knowledge Partnership".

The gaze of other realists was also drawn to the phenomena born of the revolution, but they paid their attention mainly to the negative phenomena that accompanied the revolutionary process.

The 1905 revolution gave rise to a lot of sharp satirical magazines. For the first time in the history of Russian satirical periodicals, a kind of "pictorial journalism" (political drawings and illustrations) appeared on their pages.

After the revolution, the "turmoil" of the era became even more acute. The reigning reaction is again causing a wave of disappointment, pessimism, disbelief in the strength of the people, in the possibility of a quick change in the fate of Russia. The enthusiasm for idealistic philosophy flares up again with even greater force, and religious quests revive. There is an outbreak of neo-folk ideas that have penetrated, in particular, the circle of Symbolists and neo-Slavophilism.

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

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 XX, apocalyptic moods. And next to this is a hymn to man. 1903 ᴦ. Bitter. Poem in prose "Man". Nietzsche is an idol for Gorky, Kuprin and others.
Posted on ref.rf
He raises questions about self-esteem, dignity and importance of the individual. Kuprin Communicationʼʼ. Freud is interesting, interest in the subconscious. ʼʼMan - ϶ᴛᴏ sounds proud гор. Attention to the person. Sologub, on the contrary, has attention to the little person. Andreev made the ordinary average man in the street perceive the thoughts of the proud Man and brought him to the realization of the impossibility of life. Personality problem. Search, questions about life and death on an equal footing. The motive of death is in almost every poem. The search for meaning and support in a person, followed by the question of faith and unbelief. The devil is treated no less than God. An attempt to understand what is more: devilish or divine. But the beginning of the century is, after all, the era of prosperity. High level of word art. Realists: Tolstoy, Chekhov, Kuprin, Bunin.

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

Publishing house "Knowledge". Basically focused on realistic literature. There is a "general literate". Οʜᴎ work to spread literacy. Pyatnitsky works there. In 1898, the Znaniye publishing house was separated from this society on his initiative. First, they publish scientific works. General education literature.

All publishers published realistic works. The 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 are Symbolists here until 1903, and then they have a magazine called "New Way". "Scorpion" ("Libra") in St. Petersburg, "Vulture" ("Golden Fleece") in Moscow.

"Satyricon" and "New Satyricon". Averchenko, Teffi, Sasha Cherny, Bukhov.

General characteristics of the literature of the beginning of the century. (in more detail, for reading)

Late 19th - early 20th centuries became the time of the bright flourishing of Russian culture, its "Silver Age" (Pushkin's time was called the "Golden Age"). In science, literature, art, one after another, new talents appeared, bold innovations were born, different directions, groups and styles competed. At the same time, the culture of the "Silver Age" was characterized by deep contradictions characteristic of all Russian life at that time.

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

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

At the turn of the XIX and XX centuries. literature developed in different historical conditions than before. If you look for a word that characterizes the most important features of the period under consideration, then it will be the word "crisis". Great scientific discoveries shook the classical ideas about the structure of the world, led to a paradoxical conclusion: "matter has disappeared." 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. The crisis of faith also had devastating consequences for the human spirit (“God is dead!” Exclaimed Nietzsche). This led to the fact that the man of the 20th century began to feel more and more the influence of irreligious ideas. The cult of sensual pleasures, the apology of evil and death, the glorification of the self-will of the individual, the recognition of the right to violence, which turned into terror - all these features testify to the deepest crisis of consciousness.

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

The renewal of literature, its modernization will cause the emergence of new trends and schools. The rethinking of the old means of expression and the revival of poetry will mark the beginning of the "Silver Age" of Russian literature. This term is associated with the name of N. Berdyaev, who used it in one of the performances in the salon of D. Merezhkovsky. Later, art critic and editor of Apollo S. Makovsky consolidated this phrase, 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 / Frozen over the Silver Age".

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

Russian literature of the XX century was represented by three main literary trends: realism, modernism, literary avant-garde.

Representatives of literary trends

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

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

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

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

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

Cubo-futurists(poets of "Gilea"): D.D. Burliuk, V.V. Khlebnikov, V.V. Kamensky, V.V. Mayakovsky, A.E. Twisted.

Egofuturists: I. Severyanin, I. Ignatiev, K. Olympov, V. Gnedov.

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

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

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

Realistic Publishers:

Knowledge (release of general education literature - Kuprin, Bunin, Andreev, Veresaev); collections; social Problematic

Rosehip (St. Petersburg) collections and almahs

Slovo (Moscow) collections and almanacs

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

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

ʼʼNew wayʼʼ, ʼʼScorpioʼʼ, ʼʼVultureʼʼ - symbolist.

ʼʼSatirikonʼʼ, ʼʼNew satyriconʼʼ - satire (Averchenko, S. Cherny)