Principles of which literary direction. Literary directions and currents

Plan.

2. Artistic method.

Literary directions and flows. Literary schools.

4. Principles of an artistic image in the literature.

The concept of the literary process. Concepts Periodization of the Literary Process.

The literary process is called the process of changing the literature in time.

In the Soviet literature, the leading concept of literary development was the idea of \u200b\u200bchanging creative methods. The method was described as a way of reflection by the artist's extrapractory reality. The history of the literature was described as a consistent formation of a realistic method. The main focus was transferred to overcoming romanticism, on the formation of the highest form of realism - socialist realism.

A more consistent concept of the development of world literature was built by Academician N.F. Kontraded, who also defended the progressive movement of literature. The basis of such a movement was not a change in literary methods, but the idea of \u200b\u200bopening a person as a higher value (humanistic idea). In his work "West and East", Konrad came to the conclusion of universality for all the literature of the concepts of "Middle Ages" and "Renaissance". The period of antiquity is replaced by the medieval, then Renaissance, followed by a new time. In each next period, literature is increasingly focused on the image of a person as such, increasingly aware of the intrinsicness of the human person.

Similar to the concept of Academician DS Lihachev, according to which the literature of the Russian Middle Ages developed towards strengthening the personal beginning. Large styles of era (Romanesque style, Gothic style) were to gradually replace the copyright styles (Pushkin style).

The most objective concept of Academician S.S. Averintsev, it gives a wide coverage of literary life, including modernity. The basis of this concept is the idea of \u200b\u200bthe reflexivity and traditional culture. The scientist highlights three large periods in the history of literature:

1. Culture can be non-reflective and traditional (culture of antiquity, in Greece - up to 5 V. BC) non-reflectiveness means that literary phenomena are not comprehended, there are no literary theory, the authors are not reflexing (do not analyze their creativity).

2. Culture can be reflexive, but traditional (from 5 c. BC. - To the new era). During this period, rhetoric, grammar, poetics arise (reflection on language, style, creativity). The literature was traditional, there was a steady system of genres.

3. The last period that lasts so far. Reflection is preserved, traditional is broken. Writers reflex, but create new forms. The beginning was found by the genre of the novel.

Changes in the history of literature can wear a progressive, evolutionary, regressive, involutionary nature.

Artistic method

The artistic method is a way to master and display the world, a set of basic creative principles of figurative reflection of life. The method can be said about the structure of the artistic thinking of a writer, which determines its approach to reality and its reconstruction in the light of a certain aesthetic ideal. The method is embodied in the content of the literary work. Through the method, we comprehend those creative principles, thanks to which the writer reproduces reality: selection, assessment, typification (generalization), artistic embodiment of characters, life phenomena in historical refraction. The method is manifested in strictly thoughts and feelings of the heroes of the literary work, in motivation of their behavior, actions, in the ratio of characters and events, in accordance with the life path, fate of the characteristics of the socio-historical circumstances of the era.

The concept of "method" (from c. "The path of research") is denoted by "the general principle of the creative attitude of the artist to a reasonable reality, that is, its re-creation." This is a kind of ways to know the lives that changed in different historical and literary epochs. According to some scientists, the method underlies the flows and directions, represents the method of aesthetic development of reality, which is inherent in the works of some direction. The method is the category aesthetic and deeply meaningful.

The problem of the image of reality was first realized in antiquity and received the completed embodiment in the work of Aristotle "Poetics" under the name "theory of imitation". Imitation, according to Aristotle, is the basis of poetry and its goal - to recreate the world look like real or, more precisely, what could it be. The authority of this theory was preserved up to the end of the XVIII century, when romantics offered another approach (also having his roots in antiquity, more precisely in Ellinism) - re-creation of reality in accordance with the will of the author, and not with the laws of the "Universe". These two concepts, according to Soviet literature, the mid-20th century, underlie two "types of creativity" - "realistic" and "romantic", in the framework of which "methods" of classicism, romanticism, various types of realism, modernism are stacked.

Touching the problem of the ratio of the method and directions, it is necessary to take into account that the method as a general principle of figurative reflection of life differs from the direction as a phenomenon of historically-specific. Therefore, if one or another direction is historically unique, then the same method, as a wide category of the literary process, can be repeated in the work of writers of different times and peoples, and therefore different directions and flows.

Literary directions and flows. Literary schools

KS.A. Field for the first time in Russian criticism applied the word "direction" to certain stages of the development of literature. In the article "On the directions and parties in the literature", he called the direction "That, often invisible for contemporaries an inner desire of literature, which gives the character to all or at least many works of it in a certain time ... The basis of it, in the general sense, It happens the idea of \u200b\u200bthe modern era. " For "real criticism" - N.G. Chernyshevsky, N.A. Dobrobrov - the direction correlated with the ideological position of the writer or group of writers. In general, a variety of literary communities was understood under the direction. But the main unifying sign is that the unity of the most common principles of the implementation of the artistic content, the generality of the depths of artistic world-world is recorded in the direction. There is no specified list of literature directions, as the development of literature is associated with the specifics of the historical, cultural, social life of society, the national and regional features of one or another literature. However, traditionally allocate areas such as classicism, sentimentalism, romanticism, realism, symbolism, each of which is characterized by its set of formal-substantive signs.

Gradually, along with the "direction", the term "current" is included in circulation, often used with the "direction" synonyms. So, D.S. Melezhkovsky in an extensive article "On the causes of decline and new currents of modern Russian literature" (1893) writes that "between writers with different, sometimes opposite temperaments are established, both between opposite poles, special mental flows, singular air, saturated with creative trends. " Often, the "direction" is recognized as a generic concept in relation to the "flow".

The term "literary flow" typically denote a group of writers related to the community of ideological positions and artistic principles within one direction or artistic movement. Thus, modernism is the common name of various groups in the art and literature of the 20th century, which distinguishes the departure from classical traditions, the search for new aesthetic principles, a new approach to the image of being, includes such trends as impressionism, expressionism, surrealism, existentialism, acmeism , Futurism, IMAZHINISM, etc.

The belonging of artists to one direction or flow does not exclude deep differences in their creative individualities. In turn, the individual creativity of writers may manifest the features of various literary directions and flows.

The current is a smaller unit of the literary process, often within the framework of the direction, is characterized by the existence of a certain historical period and, as a rule, localization in a certain literature. Often, the generality of artistic principles forms the "artistic system" during the course. So, within the framework of French classicism, two currents are distinguished. One is based on the traditions of the R. Dekarta rationalistic philosophy ("Cartesian rationalism"), to which the work of P. Kornel, J.Rasina, N. Balo. Another course, based predominantly on the Sensualist philosophy of P. Gassendi, expressed itself in the ideological principles of such writers as J.Lafenten, J.B. Molher. In addition, both currents are different and the system of used artistic agents. In romanticism, two main flows are distinguished - "progressive" and "conservative", but there are other classifications.

Directions and flows should be distinguished from literary schools (and literary groups). The literary school is a small unification of the writers on the basis of uniform artistic principles formulated theoretically - in articles, manifestations, scientific and journalistic statements, designed as "Charters" and "Rules". Often, such an association of writers has a leader, "head of school" ("Shchedrian School", the poets of Nekrasovskaya school).

Belonging to one school, as a rule, writers who created a number of literary phenomena with a high degree of community are recognized - up to the community of topics, style, language.

Unlike a flow, which is far from always decorated by manifestos, declarations and other documents, where its main principles are reflected, the school is practically characterized by such performances. It is important not only for the presence of general artistic principles divided by writers, but also the theoretical awareness of them of their belonging to school.

Many associations of writers, referred to as schools, are named so at the place of their existence, although the similarity of the artistic principles of writers of such associations may not be so obvious. For example, the "Lake School", named after the place where it developed (the North-West of England, the Lake Region), consisted of romantic poets, far from all consonant with each other.

The concept of "literary school" is predominantly historical, and not typological. In addition to the criteria of the unity of the time and place of the existence of the school, the presence of manifestos, declarations and similar artistic practices, the circles of writers often represent literary groups united by the "leader", which have followers that are successfully developing or copying its artistic principles. A group of English religious poets of early XVII century formed Spencer School.

It should be noted that the literary process is not reduced only to the coexistence and struggle of literary groups, schools, trends and directions. To consider it in this way - it means to schematize the literary life of the era, to dew the history of literature. Directions, flows, schools are, according to the expression of V.M. Zhirmunsky, "not a shelf or box", "For which we" declare "poets." "If the poet, for example, is a representative of the Romantic Epoch, this does not mean that in his work there can be no realistic trends."

The literary process is complex and diverse phenomenon, therefore, to operate with such categories as "current" and "direction" should be extremely careful. In addition to them, scientists use other terms when studying a literary process, such as style.

The style is traditionally included in the section "Theory of Literature". The term "style" itself in applied to the literature has a number of values: the style of the work; the style of creativity of the writer, or individual style (let's say, the style of poetry N.A. Nekrasova); style of literary direction, flow, method (for example, symbolism style); Style as a set of sustainable elements of the artistic form determined by common features of the worldview, content, national traditions inherent in literature and art in a certain historical era (the style of Russian realism of the second half of the XIX century).

In a narrow sense, the style of the letter, the characteristics of the poetic structure (vocabulary, phraseology, fine-expressive means, syntactic structures, etc.). In a wide meaning of style, this is the concept used in many sciences: literary criticism, art historian, linguistics, cultural studies, aesthetics. Say about the style of work, style of behavior, style of thinking, manual style, etc.

Stylish factors in the literature are ideological content, form components specifically expressing the content; This also includes the vision of the world, which is associated with the worldview of the writer, with his understanding of the essence of phenomena and humans. Style unity includes the structure of the work (composition), conflict analysis, their development in the plot, the system of images and methods of disclosure of characters, pathos of the work. Style as unifying and artistic and organizing the beginning of all the work is absorbed even the way of landscape sketches. All this is a style in the broad sense of the word. In the originality of the method and style, the features of the literary direction and flow are expressed.

According to the features of the style, the literary hero is judged (the attributes of its appearance and the form of behavior are taken into account), on the affiliation of the building to a particular era in the development of architecture (Ampire style, Gothic style, modern style, etc.), about the specifics of the image of reality In the literature of a specific historical formation (in the ancient Russian literature, the style of monumental medieval historicism, the epic style of the XI-XIII centuries, the expressive-emotional style of the XV-XV centuries, the Baroque style of the second half of the XVII century, etc.). No one will not surprise the expression "style of play", "Lifestyle", "Style of Management", "Style of Work", "Development Style", "Furniture Style", etc., and whenever, along with a generalizing cultural meaning, In these stable formulas, a specific appraisal meaning is invested (for example, "I prefer this style of clothing" - unlike others, etc.).

The style in the literature is arising from the knowledge of the general laws of reality, a functionally used set of means of expression, implemented by the ratio of all elements of the poetics of the work in order to create a unique artistic impression.

The literary flow is something that is often identified with a school or literary grouping. It means a group of creative personalities, for them is characterized by software and aesthetic unity, as well as ideologically artistic proximity.

In other words, this is a certain variety (as if subgroup) in relation to, for example, to Russian romanticism, it is said about the "psychological", "philosophical" and "civil" current. In Russian literary flows, scientists allocate "sociological" and "psychological" direction.

Classicism

Literary flows of the 20th century

First of all, it is an orientation for classical, archaic and household mythology; cyclic time model; Mythological bricks - works are built as collages of reminiscence and quotes from well-known works.

The literary flow of that time has 10 components:

1. Neomymophism.

2. Autistism.

3. Illusion / Reality.

4. Style priority over the plot.

5. Text in the text.

6. Destruction of fabul.

7. Pragmatics, not semantics.

8. Syntax, not vocabulary.

9. Observer.

10. Violation of the principles of text connected.

Literature, like no other type of human creative activity, is connected with the public and historical life of people, being a bright and shaped source of its reflection. Artistic literature develops together with society, in a certain historical sequence and it can be said that it is a direct example of the artistic development of civilization. Each historical era is characterized by certain sentiments, views, the globility and the worldview, which is inevitably manifested in the artistic literary works.

The community of worldview, supported by uniform artistic principles for creating a literary work among individual groups of writers, forms various literary directions. It is worth saying that the classification and allocation of such directions in the history of literature is very conditional. Writers, creating their works in different historical epochs, did not even suspect that literary critics after years are counting them to any literary direction. Nevertheless, for the convenience of historical analysis in literary activities, such a classification is necessary. It helps more clearly and structured to understand complex processes of development of literature and art.

Main literary directions

Each of them is characterized by the presence of a number of well-known writers, which unites the clear ideological and aesthetic concept, set out in theoretical works, and a general view on the principles of creating a artistic work or an artistic method, which, in turn, acquires historical and social traits inherent in a certain direction.

In the history of literature, it is customary to allocate the following basic literary directions:

Classicism. It was formed as an artistic style and worldview by the XVII century. It is based on an antique art that has been taken for sample to imitate. In an effort to achieve simplicity of perfection, similar to the ancient samples, the classicists developed strict canons of art, such as the unity of time, place and action in dramaturgy, which strictly needed to follow. The literary work was emphasized by artificial, reasonably and logically organized, rationally lined up.

All genres were divided into high (tragedy, sideways, epic) that heroic events and mythological plots, and low - depicting the everyday life of the lower classes (comedy, satire, fable). Classicists preferred dramaturgy and created a lot of works specifically for theatrical layoffs, using for the expression of ideas not only the word, but also visual images, a certain way built plot, facial expressions and gestures, scenery and costumes. All the seventeenth and the beginning of the eighteenth century passed under the Senius of Classicism, which was replaced after the destructive power of French, another direction came.

Romanticism is a comprehensive that powerfully manifested itself not only in literature, but also in painting, philosophy and music, and in each European country it had its own specific features. United the romantic writers a subjective look at reality and dissatisfaction with the surrounding reality, which forced them to design other paintings of the world, taking reality. Heroes of romantic works - mighty extraordinary individuals, rebellion, challenging the imperfection of the world, universal evil and dying in the struggle for happiness and universal harmony. Unusual heroes and unusual life circumstances, fantastic worlds and unrealistic deep deep experiences. Writers were transferred using certain language of their works very emotional, elevated.

Realism. Paphos and romanticism elevation changed this direction, the basic principle of which was an image of life in all its terrestrial manifestations, very real typical heroes in real typical circumstances. The literature, according to realist writers, was to become a textbook of life, therefore heroes were portrayed in all aspects of the personality - social, psychological, historical. The main source affecting a person who form his nature and the worldview is becoming the environment, real life circumstances with which heroes due to deep contradictions constantly enter into conflict. Life and images are given in development, showing a certain tendency.

Literature reflects the most general parameters and features of artistic creativity in a certain historical period of the development of society. In turn, within the framework of any direction, several currents can be distinguished, which are represented by writers with close ideological and artistic plants, moral and ethical views and artistic and aesthetic techniques. So, within the framework of romanticism, there were such trends as civil romanticism. Writers-realists were also adherents of different flows. In Russian realism, it is customary to allocate the philosophical and sociological flow.

Literary directions and flows are classification created within the framework of literary theories. It is based on the philosophical, political and aesthetic views of the epochs and generations of people at a certain historical stage of the development of society. However, literary directions can go beyond the framework of one historical era, so they are often identified with the artistic method, common to a group of writers who lived at different times, but expressing similar spiritual and ethical principles.

Literary directions and currents: classicism, sentimentalism, romanticism, realism, modernism (symbolism, acmeism, futurism)

Classicism (from lat. Classicus - exemplary) - an artistic direction in the European art of the turn of the XVII-XVІІІ - the beginning of the XIX century, formed in France at the end of the XVII century. Classicism argued the primacy of state interests over personal, the predominance of civil, patriotic motives, the cult of moral debt. For aesthetics of classicism, the severity of artistic forms is characterized: composite unity, regulatory style and plots. Representatives of Russian classicism: Kantemir, Tredyakovsky, Lomonosov, Sumarokov, Princess, Ozers and others.

One of the most important features of classicism is the perception of ancient art as a sample, aesthetic reference (hence the name of the direction). The goal is to create works of art in the image and similarity of ancient. In addition, the ideas of enlightenment and the cult of the mind have had a huge impact on the formation of classicism (faith in the omnipotence of the mind and what the world can be reroacled at a reasonable principle).

Classicists (representatives of classicism) perceived artistic creativity as strictly followed by reasonable rules, eternal laws created on the basis of studying the best samples of ancient literature. Based on these reasonable laws, they shared works on the "right" and "wrong". For example, the "wrong" believed even the best plays of Shakespeare. This was due to the fact that in Shakespeare's heroes, positive and negative features were connected. A creative method of classicism was based on rationalistic thinking. There was a strict system of characters and genres: all the characters and genres differed "purity" and unambiguable. So, in one hero, it was categorically forbidden not only to combine defects and virtues (that is, positive and negative features), but even several vices. The hero was to embody any one character line: either a meager, either Bounce, or a hunger, or a hypocrite, or kind or evil, etc.

The main conflict of classic works is the struggle of the hero between the mind and feeling. At the same time, the positive hero should always make a choice in favor of the mind (for example, choosing between love and the need to completely surrender to the state, he is obliged to choose the latter), and negative - in favor of feeling.

The same can be said about the genre system. All genres shared on high (soda, epic poem, tragedy) and low (comedy, fables, epigram, satire). At the same time, there was no touching episodes in the comedy, and in the tragedy - funny. In the high genres, "exemplary" heroes were depicted - monarchs, "commander, which could serve as an example for imitation. The characters covered by any" passion "were introduced into the low, that is, a strong sense.

Special rules existed for dramatic works. Three "unity" should be observed in them - places, time and action. Unity of the place: Classicist playwright did not allow the change of action, that is, throughout the play, the heroes had to be in the same place. Unity of time: the artistic time of the work was slimmed to exceed several hours, as a last resort - one day. Unity of action implies the presence of only one storyline. All these requirements are connected with the fact that classicists wanted to create a kind of illusion of life on stage. Sumarokov: "Try me in the game hours for hours to measure, so that I forgetting, I could believe you."

So, the characteristics of literary classicism:

The purity of the genre (in high genres, funny or domestic situations and heroes could not be depicted, and in low - tragic and sublime);

- purity of the language (in high genres - high vocabulary, in low - spaticral);

Heroes are strictly divided into positive and negative, with positive heroes, choosing between feeling and mind, prefer the latter;

- compliance with the rules of "three unities";

- positive values \u200b\u200band state ideal should be approved in the work.

For Russian classicism, the state pathos is characterized (the state (and not a person) was declared the highest value) in conjunction with faith in the theory of enlightened absolutism. According to the theory of enlightened absolutism, the state must lead the wise, enlightened monarch, requiring each ministry for the benefit of society. Russian classicists inspired by Petrovsky reforms believed in the possibility of further improvement of society, which seemed to be a reasonably arranged organism. Sumarokov: "The peasants are plowing, merchants traded, warriors protect the fatherland, sudden judge, scientists grow science." Also rationalistic classicists also treated to human nature. They believed that the nature of man is selfish, is subject to passions, that is, the feelings that oppose the mind, but at the same time is amenable to education.

Sentimentalism (from English Sentimental - Sensitive, from French Sentiment

The feeling) is the literary direction of the second half of the XVIII century, who has replaced classicism. Sentimentalists proclaimed the primacy of feelings, and not reason. The person was assessed by his ability to deep experience. From here - interest in the inner world of the hero, the image of the shades of his feelings (the beginning of the psychologist).

Unlike classicists, sentimentalists consider not a state with higher value, but a person. The unfair orders of the feudal world they opposed the eternal and reasonable laws of nature. In this regard, nature for sentimentalists - measured all values, including the person himself. It is no coincidence that they approved the superiority of the "natural", "natural" person, that is, living in harmony with nature.

Sensitivity lies and at the heart of the creative method of sentimentalism. If classicists have created generalized characters (Khunzha, Busthan, Skury, fool), then sentimentalists are interested in specific people with individual destiny. Heroes in their works are clearly divided into positive and negative. Positive are endowed with natural sensitivity (responsive, kind, compassionative, capable of self-sacrifice). Negative - calculating, selfish, arrogant, cruel. The sensitivity carriers tend to be peasants, artisans, differences, rural clergy. Brutal - representatives of power, nobles, higher spiritual ranks (as the despotic board kills sensitivity in people). Manifestations of sensitivity are often acquired in the works of sentimentalists too external, even hyperbulsed character (exclamation, tears, fainting, suicide).

One of the main discoveries of sentimentalism is the individualization of the hero and the image of the rich spiritual world of commoner (the image of Liza in the story of Karamzin "Poor Lisa"). The main character of the works was the ordinary person. In this regard, the plot of works was often separate situations of everyday life, while the peasant life was often depicted in pastoral colors. The new content required a new form. Family romance, diary, confession, novel in letters, travel notes, Elegy, Message, became leading genres.

In Russia, sentimentalism originated in the 1760s (the best representatives of Radishchev and Karamzin). As a rule, in the works of Russian sentimentalism, the conflict is developing between a serf peasant and a serfshit, and the moral superiority of the first persistently emphasizes.

Romanticism is an artistic direction in the European and American culture of the late XVIII - the first half of the XIX century. Romanticism arose in the 1790s first in Germany, and then spread throughout Western Europe. The backgrounds of the occurrence were the crisis of rationalism of enlightenment, artistic searches of predocutants (sentimentalism), the Great French Revolution, German classical philosophy.

The emergence of this literary direction, as, however, and any other, inextricably linked with the socio-historical events of that time. Let's start with the background formation of romanticism in Western European literature. The Great French Revolution of 1789-1899 and the revaluation of educational ideology associated with it was provided to the decisive effect on the formation of romanticism in Western Europe. As you know, the XVIII century in France went under the sign of the Enlightenment. For almost a whole century, French enlighteners led by Voltaire (Rousseau, Didro, Montesquieu) argued that the world can be reroyed at a reasonable principle and proclaimed the idea of \u200b\u200bnatural (natural) equality of all people. It is these educational ideas that were inspired by French revolutionaries, whose slogan were words: "Freedom, equality and fraternity. The result of the revolution was the establishment of the bourgeois republic. As a result, a bourgeois minority was winning, which took power (it used to belong to the aristocracy, the Higher Nobility), the rest were "at the broken trough." Thus, the long-awaited "kingdom of mind" turned out to be an illusion, as the promised freedom, equality and fraternity. It appeared universal disappointment in the results and results of the revolution, deep dissatisfaction with the surrounding reality, which became a prerequisite for the occurrence of romanticism. Because the basis of romanticism is the principle of dissatisfaction with the existing order of things. Then followed the emergence of the theory of romanticism in Germany.

As is known, Western European culture, in particular French, has enormous influenced Russian. This trend has been preserved in the XIX century, so the Great French Revolution shocked Russia. But, in addition, there are both Russian prerequisites for the emergence of Russian romanticism. First of all, it is the Patriotic War of 1812, it clearly showed the greatness and strength of the simple people. It was the people who was obliged to victory over Napoleon, the people were the true hero of war. Meanwhile, both before the war, and after it the bulk of the people, the peasants, still remained serfs, in fact, slaves. What was previously perceived by the progressive people of the time as injustice, now it became like scinting injustice, contrary to any logic and morality. But after the end of the war, Alexander I not only did not cancel the serfdom, but also began to conduct much more strict politics. As a result, a pronounced feeling of disappointedness and dissatisfaction arose in Russian society. So there was a soil for the appearance of romanticism.

The term "romanticism" in relation to the literary direction is random and inaccurate. In this regard, from the very beginning of its appearance, he understood in different ways: one believed that he was coming from the word "novel", others from Knight's poetry created in the countries speaking in Romanesque languages. For the first time, the word "romanticism" as the name of the literary direction began to be used in Germany, where the first rather thorough theory of romanticism was created.

Very important for understanding the essence of romanticism is the concept of romantic dvouliiria. As already mentioned, rejection, denial of reality is the main background of the occurrence of romanticism. All romance reject the world around me, from here their romantic escape from the existing life and search for the ideal outside it. This gave rise to the emergence of romantic doolmirine. The world for romantics was divided into two parts: here and there. "There" and "here" is antithesis (opposition), these categories associate as an ideal and reality. The despised "here" is a modern reality, where evil and injustice triumphs. "There" - some poetic reality that romantics opposed real reality. Many romance believed that good, beauty and truth, displaced from public life, were still preserved in the souls of people. Hence their attention to the inner world of man, in-depth psychologism. The souls of people are their "there." For example, Zhukovsky was looking for "there" in the other world; Pushkin and Lermontov, Fenimmore Cooper - in the free lives of uncivilized peoples (Pushkin's poems "Caucasian captive", "Roma", Cooper's novels about the life of the Indians).

Rejection, the denial of reality determined the specifics of the romantic hero. This is a fundamentally new hero, similar to him knew the former literature. It is in hostile relationship with the surrounding society, is opposed to him. This is an extraordinary person, restless, most often lonely and with a tragic destiny. Romantic hero - the embodiment of the romantic riot against reality.

Realism (From Latin Realis - real, valid) - Method (creative installation) or literary direction, embodied the principles of a vital attitude to reality, directed towards the artistic knowledge of the person and the world. Often the term "realism" is used in two values: 1) Realism as a method; 2) Realism as a direction formed in the XIX century. Both classicism, and romanticism, and symbolism seek to know life and in their own way express the reaction to it, but only in realism the loyalty of reality becomes the decisive criterion of artisticity. This is distinguished by realism, for example, from romanticism, which is characterized by the rejection of reality and the desire to "re-create" it, and not to display the way it is. Not by chance, referring to the realist Balzak, Romantic Georges Sanda so determined the difference between him and by himself: "You take a person as it seems to your gaze; I feel in myself the calling to portray him as much as I would like to see. " Thus, it can be said that realists depict real, and romantics - desired.

The beginning of the formation of realism is customary to communicate with the era of the Renaissance. For the realism of this time, the scale of images (Don Quixote, Hamlet) and the poetry of the human person, the perception of a person as the king of nature, the crown of creation. The next stage is educational realism. In the literature of Enlightenment, a democratic realistic hero, a man "from the bottom" (for example, Figaro in the plays of the BomArsche "Seville Berber" and "Figaro")). New types of romanticism appear in the XIX century: "fantastic" (Gogol, Dostoevsky), Grotesque (Gogol, Saltykov-Shchedrin) and the "critical" realism associated with the activities of the "Natural School".

The main requirements of the realism: compliance with the principles of nationalism, historicism, high artisticity, psychologism, the image of life in its development. Realist writers showed a direct dependence of social, moral, religious representations of heroes from social conditions, pay great attention to a social and domestic aspect. The central problem of realism is the ratio of believing and artistic truth. True, the plausible mapping of life is very important for realists, but the artistic truth is determined by the wrongness, but by loyalty to comprehend and transfer the essence of life and the significance of ideas expressed by the artist. One of the most important features of realism is typical of characters (the fusion of typical and individual, unique-personal). The persuasiveness of realistic nature directly depends on the degree of individualization achieved by the writer.

Realist writers create new types of heroes: type of "little man" (screens, shoes H, marmalands, girls), the type of "excess person" (Chatsky, Onegin, Pechorin, Oblomov), the type of "new" hero (NiHist Bazarov in Turgenev, "New people" Chernyshevsky).

Modernism (From French Modern - the newest, modern) - a philosophical and aesthetic movement in literature and art that emerged at the turn of the XIX-XX centuries.

This term has various interpretations:

1) denotes a number of unrealistic directions in the art and literature of the turn of the XIX-XX centuries: symbolism, futurism, acmeism, expressionism, cubism, immoginism, surrealism, abstractionism, impressionism;

2) used as a conditional designation of aesthetic searches for artists of unrealistic directions;

3) Indicates a complex complex of aesthetic and ideological phenomena, including not only the actual modernist directions, but also the work of artists who do not fit into the framework of any direction (D. Joyce, M. Prost, F. Kafka and others).

The brightest and most significant directions of the Russian modernism were symbolism, acmeism and futurism.

Symbolism- The unrealistic direction in the art and literature of the 1870-1920s, is focused mainly on artistic expression using the symbol of intuitive entrusted entities and ideas. Symbolism declared itself in France in the 1860-1870s in the poetic work of A. Rambo, P. Vellen, S. Mallarm. Then, through poetry, symbolism associated itself not only with prose and drama, but also with other types of art. The ancestor, the founder, "father" of symbolism, consider the French writer S. Bodler.

The worldview of the symbolist artists is the idea of \u200b\u200bthe unrecognizability of the world and its patterns. The only "gun" of the knowledge of the world, they considered the spiritual experience of man and creative intuition of the artist.

Symbolism The first put forward the idea of \u200b\u200bcreating art free from the task to portray reality. The symbolists argued that the goal of art was not in the image of the real world, which they considered secondary, but in the transfer of "higher reality". They intended to achieve this with the symbol. The symbol is the expression of the superfluid intuition of the poet, which in minutes of illusion opens the true essence of things. Symbolists have developed a new poetic language that does not call a direct item, and hinting on its content through allegory, musicality, color gamut, free verse.

Symbolism is the first and most significant of the modernist flows that arose in Russia. The first manifesto of the Russian symbolism was the article D. S. Merezhkovsky "On the reasons for decline and new currents of modern Russian literature", published in 1893. It identified three main elements of "new art": mystical content, symbolization and "expansion of artistic impressionability".

Symbolists are customary to divide into two groups, or flows:

1) "Senior" Symbolists (V. Bryusov, K. Balmont, D. Merezhkovsky, 3. Hippius, F. Sologub

both others), debuting in the 1890s;

2) "Junior" symbolists who started their creative activity in the 1900s and significantly updated the appearance of the flow (A. Block, A. White, V. Ivanov and others).

It should be noted that the "senior" and "younger" symbolists share not so much age as the difference in the worldships and the direction of creativity.

The symbolists believed that art is primarily "comprehending the world by other, not rational ways" (Bryusov). After all, it is possible to rationally comprehend only the phenomena subordinate to the law of linear causality, and such causticity is valid only in the lower forms of life (empirical reality, life). Symbolists were also interested in the top sphere of life (the area of \u200b\u200b"absolute ideas" in the terms of Plato or the "World Soul", according to V. Solovyov), non-infertous rational knowledge. It is art that has a property to penetrate into these areas, and the images and symbols with their endless meaningful are able to reflect the complexity of the global department. The symbolists believed that the ability to comprehend the true, the highest reality was given only to the elected, which at the moments of inspired transparency are able to comprehend the "highest" truth, the absolute truth.

The character-symbol was considered by symbols as more effective than an artistic image, an instrument that helps "break through" through the intercourse of everyday life (lower life) to the highest reality. The symbol differs from the realistic image in that it transmits not an objective essence of the phenomenon, but its own, individual representation of the poet of the world. In addition, the symbolist symbolists understood him, this is not allegory, but above all, a certain image that requires retaliatory creative work. The symbol as it may connect the author and the reader - in this and there is a coup produced by symbolism in art.

The symbol is fundamentally multigid and contains the prospect of the limitless deployment of meanings. This feature was repeatedly emphasized the symbolists themselves: "The symbol is only the true symbol when it is inexhaustible in its meaning" (Vyach. Ivanov); "Symbol - window in infinity" (F. Sologub).

Axism (from Greek. Act is the highest degree of something, blooming force, top) - the modernist literary flow in Russian poetry of the 1910s. Representatives: S. Gorodetsky, Early A. Akhmatova, L. Gumilev, O. Mandelstam. The term "acmeism" belongs to Gumilev. The aesthetic program was formulated in the articles of Gumileva "Heritage of Symbolism and Akmeism", Gorodetsky "Some currents in modern Russian poetry" and Mandelstam "Morning Akmeism".

Aqmeeism stood out of the symbolism, having criticized his mystical aspirations to "unrecognizable": "At Ambheyists Rose again became good in itself, with its petals, smell and color, and not their imaginary similarities with mystical love or something else." (Gorodetsky) . Aqmeists proclaimed the liberation of poetry from the symbolistic impulses to the ideal, from the meaningfulness and turnover of images, complicated metaphoricity; They talked about the need to return to the material world, subject, accurate meaning of the word. Symbolism is based on the rejection of reality, and the ameists believed that one should not refuse this world, you need to look for some values \u200b\u200bin it and imprinted them in our works, and this is done with the help of accurate and understandable images, and not blurry characters.

Actually, the anxistic flow was small, existed for a long time - about two years (1913-1914) - and was associated with the "poet shop". "The shop of poets" was created in 1911 and first combined a fairly large number of people (not all of them were in the future they were involved in akmeism). This organization was much more soldered than scattered symbolistic groups. Poems were analyzed at the "workshops" meetings, the problems of poetic skills were solved, methods for analyzing works were substantiated. The idea of \u200b\u200ba new direction in poetry was first expressed by Kuzmin, although he himself did not enter the "workshop". In his article "On Beautiful Clarity", Kuzmin anticipated many declarations of aqmeism. In January 1913, the first aqmeism manifesms appeared. From now on, the existence of a new direction begins.

The task of literature Akmeism proclaimed "Beautiful Clarity", or Clarizism (from Lat. Clarus - Clear). Ambamests called their adamism, communicating with the biblical adam an idea of \u200b\u200ba clear and direct look at the world. Aqmeism preached a clear, "simple" poetic language, where words would directly called items, declared their love for substitution. So, Gumilev urged to seek not "unsubstate words", and the words "with a more sustainable content". This principle was most consistently implemented in the lyrics of Akhmatova.

Futurism- One of the main avant-garde directions (avant-garde is the extreme manifestation of modernism) in the European arts of the beginning of the 20th century, which has become the greatest development in Italy and Russia.

In 1909, in Italy, the poet F. Marinetti published "Manifesto Futurism." The main provisions of this manifesto: the refusal of traditional aesthetic values \u200b\u200band experience of the entire previous literature, bold experiments in the field of literature and art. As the main elements of futuristic poetry, Marinetti calls "courage, audacity, riot". In 1912, Russian futurists V. Mayakovsky, A. Klychykh, V. Khlebnikov, created his manifesto "Social Society". They also sought to break with the traditional culture, welcomed the literary experiments, sought to find new means of speech expressiveness (proclaiming the new free rhythm, loosening the syntax, the destruction of punctuation marks). At the same time, Russian futurists rejected fascism and anarchism, which declared Marinetti in their manifestes, and turned, mainly to aesthetic issues. They proclaimed the revolution of the form, its independence from the content ("It is not important that, and how") and the absolute freedom of the poetic word.

Futurism was an inhomogeneous direction. In its framework, four main groups or flows can be distinguished:

1) "Gileia", which united the Cubal feasts (V. Khlebnikov, V. Mayakovsky, A. Kichen

2) "Association of EgoFuturists" (I. Northernik, I. Ignatiev and others);

3) "Mezonin of Poetry" (V. Sherevich, R. Ivnev);

4) "Centrifuge" (S. Bobrov, N. Aseev, B. Pasternak).

The most significant and influential group was "hyiley": in fact, it was she who identified the face of Russian futurism. Its participants released many collections: "Sadok judges" (1910), "Society to public taste" (1912), "Darkie Moon * (1913)," took "(1915).

Futurists wrote on behalf of a crowd man. The basis of this movement was the feeling of the "inevitability of the crash of the older" (Mayakovsky), awareness of the birth of "new humanity". Artistic creativity, according to Futurists, should have become not imitation, but by the continuation of nature, which, through the creative will, creates a "new world, today's, iron ..." (Malevich). This is due to the desire to destroy the "old" form, the desire for contrasts, a colloquial speech. Based on a lively spoken language, futurists were engaged in "worship" (created neologisms). Their works were distinguished by complex semantic and composite shifts - the contrast of comic and tragic, fiction and lyrics.

Futurism began to break down in 1915-1916.