Silver eyelids as a cultural historical era. Silver Age in Russky Artistic Culture
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The silver century of Russian culture turned out to be surprisingly short. It lasted about a quarter of a century: 1898-1922. The initial date coincides with the year of the establishment of the Unification of the World of Art, the foundations of the Moscow Art Theater (MHT), where the "Chaika" was set by A.P. Chekhov, and the ultimate - with the year of expulsion from the already Soviet Russia of a large group of philosophers and thinkers. The brevity of the period does not diminish its significance. On the contrary, over time, this significance is even increasing. It lies in the fact that Russian culture is not all, but only part of it - the first to realize the harmfulness of the development, whose value reference points are one-sided rationalism, definition and confusion. The Western world came to such awareness much later.
The silver age includes first of all two main spiritual phenomena: the Russian religious revival of the beginning of the XX century., Also known as the name "Friendly", I. Russian modernismpushing mainly and acmeism. It belongs to such poets as M. Tsveyev, S. Yesenin and B. Pasternak, who were not included in these currents. The artistic association "The World of Art" (1898-1924) should also be attributed to the artistic association, the creators of which were A. N. Benois and S. P. Dyagilev, which had rebuilt the glory to the organization of the famous "Russian seasons" in Europe and America.
As for, it represents a separate, independent phenomenon. In his spirit and aspirations, he diverges with the silver century. "Tower" Vyach. Ivanov and Tower V. Tatlin are too different to be together. Therefore, the inclusion of the Russian avant-garde into the Silver Age, which makes many authors, is due to the chronology rather than more substantial motives.
Expression and title "silver Age" It is poetic and metaphorical, not strict and not defined. He was invented by the representatives of the Silver Age themselves. At A. Akhmatova, it is present in the famous lines: "And the silver month is bright over the silver century ..." It is used by N. Berdyaev. A. White called one of his novel "Silver Pigeon". The editor of the Apollo magazine S. Makovsky used it to indicate the beginning of the beginning of the XX century.
In the title itself, there is a certain opposition to the previous, golden age, when Russian culture experienced a stormy flourished. She radiated bright, sunlight, lighting them the whole world, hitting it with its power, glitter and splendor. Art then actively invading public life and politics. It fully corresponded to the well-known formula E. Evtushenko: "The poet in Russia is more than the poet." On the contrary, the art of the silver century tends to be only art. The light emitted by them appears lunar, reflected, twilight, mysterious, magical and mystical.
Russian religious renaissance
Russian religious revival of the beginning of the XX century. represent such philosophers and thinkers like ON THE. Berdyaev, S.N. Bulgakov, PB Struve, S.L. Frank, P.A. Florensky, S.N. and E.N. Trubetsky.
The first four, which are central sobbinity figures, passed the difficult path of spiritual evolution. They started like Marxists, materialists and social democrats. By the beginning of the XX century. They made a turn from Marxism and materialism to idealism, significantly limited the possibilities of scientific explanation of the world and switched to the position of liberalism. This was evidenced by their articles published in the collection "Problems of Idealism" (1902).
After the revolution 1905-1907. Their evolution ended and they finally approved as religious thinkers. They expressed his new looks in the collection "Milestones" (1909). S. Bulgakov became a priest.
The concept of Russian religious revival was the fruit of understanding the centuries-old history of Russia and the West. She largely became the continuation and development of Slavophilia. Therefore, it can be defined as a new Slavic movie. She was also the development of ideas and views N.V. Gogol, F.M. Dostoevsky. L.N. Tolstoy and B.c. Solovyov.
N.V. Gogol influenced representatives of the bomochetia, primarily by its book, "chosen places from correspondence with friends," where he reflects on the historical destinies of Russia and calls for Christian self-sufficiency and self-improvement. As for F.M. Dostoevsky, his life itself was an instructive example for supporters of religious revival. The fascination of the revolution was tragic consequences for the writer, so he devoted his creativity to the search for Christian ways to human unity and fraternity. In this he saw the written of the Russian path.
Many ideas and especially the doctrine of non-violence L.N. Tolstoy was also consonant with the views of representatives of the religious renaissance. Teaching Vl. Solovyov on alliance, about Sofia - the world soul and eternal femininity, about the ultimate victory of unity and goodness over the hostric and disintegration constitute the common spiritual basis of the Russian religious rebirth and Russian modernism - especially symbolism.
Exactly Vl. Soloviev Developed the concept of the revival of Russia on the Christian foundations. He devoted his life to the tireless struggle against the hostile relationship of the intelligentsia to the Church, for overcoming the gap between them, called for mutual reconciliation.
Developing the ideas of their predecessors, representatives of the religious revival is very Critically evaluate the western path of development. In their opinion, the West gives an obvious preference to civilization to the detriment of culture. He focused his efforts on the external arrangement of being, on the creation of railways and communications, comfort and vitality. At the same time, the inner world, the man's soul was in oblivion and launch. Hence the triumph of atheism, rationalism and utilitarianism.
It is these parties, as noted by representatives of the bomochetia, were adopted by the Russian revolutionary intelligentsia. In his struggle for the benefit and happiness of the people, his liberation she chose radical funds: revolution, violence, destruction and terror.
Supporters of religious renaissance saw in the revolution 1905-1907. A serious threat to the future of Russia, they perceived it as the beginning of the national catastrophe. Therefore, they appealed to the radical intelligentsia, with a call to renounce the revolution and violence as the means of the struggle for social justice, to abandon Western atheistic socialism and unique anarchism, recognize the need to approve the religious and philosophical foundations of the worldview, to reconcile with the updated Orthodox Church.
Russia's salvation was seen in the restoration of Christianity as the foundation of the whole culture, in the revival and approval of the ideals and values \u200b\u200bof religious humanism. The path to solving problems of social life for them was lying through personal self-improvement and personal responsibility. Therefore, the main task, they considered the development of an identity teaching. As perpetual ideals and values \u200b\u200bof man, representatives of God examined holiness, beauty, truth and good, understanding them in a religious and philosophical sense. The highest and absolute value was God.
With all its attractiveness, the concept of religious revival was not immaculate and invulnerable. Fairly reproaches the revolutionary intelligentsia for CE Roll towards the external, material conditions of life, representatives of God designed to another extreme, proclaimed the unconditional championship of the spiritual principle.
Forgetting material interests I make a person's way to your happiness no less problematic and utopian. With regard to Russia, the question of socio-economic conditions of life had exceptional sharpness. Meanwhile, the locomotive of the history of Western type has long been on the territory of Russia. By gaining speed, it carried its immense expanses. To stop it or change its direction, treated tremendous efforts and significant changes in the Company's device.
The call for refusal to revolution and violence needed support, in a counter movement by the official authorities and the rule of the elite. Unfortunately, all the steps taken in this regard far did not fully meet the historical requirements. The authorities did not feel the sharp necessity of change, showed unshakable conservatism, they wanted to maintain the Middle Ages at any cost.
In particular, Tsar Nicholas II, being a highly educated person who knows five foreign languages, which had a subtle aesthetic taste, was at the same time in its views a completely medieval man. He was deeply and sincerely convinced that the public device existing in Russia is the best and does not need any serious updating. From here, halfness and inconsistency in conducting inspired reforms. From here, distrust of such reformers like S.Yu. Witte and P.A. Stolypin. The main attention to the royal family focused on the health problem of the heir, to solve which she surrounded themselves very dubious personalities like G. Rasputin. The World War I began to exacerbate the situation.
In general, it can be said that extreme radicalism to a certain extent was generated by extreme conservatism. At the same time, the social base of the opposition to the existing situation of things was very broad. The revolutionary version of the resolution of the muscles and contradictions was divided not only to radically tuned movements and, but also more moderate.
Therefore, the appeal of supporters of the religious revival to get on the Christian path to solving acute life issues did not find the desired support. This newer did not mean that he was not heard and remained glazing blatant in the desert. No, he was heard, but did not support, rejected.
The release of the collection "Milestones" caused great interest. For only one year, he endured five editions. Over the same time, more than 200 responses appeared in the press, five collections were published on the discussion of the issues of "VEX". However, the overwhelming majority of reviews were negative. Not only revolutionaries and left opposition, but many right, including liberals, were opposed to new housekeys. In particular, the leader of the party of Cadets P.N. Milyukov traveled around the country with lectures, which sharply criticized the housekeepers, calling them reactionary.
It should be noted that even in church-orthodox circles of the present and quite wide oncoming movement did not work. The sacred synod first supported those held in 1901-1903. Religious and philosophical meetings, and then forbade them. The church was quite wary of the many new ideas of the participants in religious rebirth, doubted their sincerity, and referred to the criticism in their address undeserved and perceived painfully.
As I noted 3. Hippius, during the meetings, a complete difference was found in the views of representatives of the secular and church world, and some participants in the meetings only assured in their mutual negative estimates. Thus, the reaction of contemporaries showed that the expressants of the religious and philosophical revival were much ahead of their time. However, their undertakes and appeals were not in vain. They contributed to the revival of spiritual life, strengthening the interest of the intelligentsia to the Church and Christianity.
The new stage in the development of the culture of Russia is conditionally, starting with the reform of 1861 to the October Revolution of 1917, called the "silver age." For the first time, this name was proposed by the Philosopher N. Berdyaev, who saw in the highest achievements of the culture of his contemporaries, the default of the Russian glory of the previously "golden" epochs, but finally in the literary turnover, this phrase entered the 60s of the last century.
"Silver Age" occupies a completely special place in Russian culture. This contradictory time of spiritual searches and wandering, significantly enriched all kinds of arts and philosophy and gave rise to a whole pleiad of outstanding creative personalities. On the threshold of the new century began to change the deep bases of life, giving rise to the collapse of the old painting of the world. Traditional existence regulators - religion, morality, right - did not cope with their functions, and the age of modern was born.
However, sometimes they say that the "silver age" is a phenomenon of Western. Indeed, by its landmarks, he chose the Aestheticism of Oscar Wilde, the individualistic spiritualism of Alfred de Vinyi, the pessimism of Schopenhauer, superman Nietzsche. "Silver Age" found its ancestors and allies in various countries of Europe and in different centuries: Viyon, Mallarm, Rembo, Novisa, Shelly, Calderon, Ibsen, Meterlinka, D'anzio, Gautier, Bodler, Verkoren.
In other words, at the end of the XIX - early XX centuries, the reassessment of values \u200b\u200boccurred from the standpoint of Europe. But in the light of the new epoch, which was the complete opposite of the one that she changed, national, literary and folk treasures appeared in another brighter than ever, light. Truly, it was the most creative epoch in Russian history, the greatness of the greatness and the impending victims of the Holy Russia.
Slavophiles and Westerners
The elimination of serfdom, the development of bourgeois relations in the village exacerbated contradictions in the development of culture. They are found primarily in the discussion and in the folding of two directions: "Western" and "Slavophile". A stumbling block, not allowed to reconcile the arguing, was the question: how much is the culture of Russia develop? According to the "Western", that is, bourgeois, or it retains its "Slavic originality", that is, preserves the feudal relations and the agricultural nature of culture.
The reason for the selection of areas was "philosophical letters" P. Ya. Chaadaeva. He believed that all the misfortunes of Russia were displayed from the qualities of the Russian people, for which, allegedly, are characteristic: mental and spiritual backwardness, the underdevelopment of ideas about the debt, justice, the right, the lack of original "ideas". As the philosopher believed, "the history of Russia is a" negative lesson "of the world." A. S. Pushkin gave him a sharp reward, saying: "I would never like to change the fatherland in the world or to have another story, except for the history of our ancestors, such that God gave it."
The Russian society was divided into "Slavophiles" and "Westerners". To "Wessengers" treated V. G. Belinsky, A. I. Herzen, N. V. Stankevich, M. A. Bakunin, and others. "Slavophiles" were represented by A. S. Khomyakov, K. S. Aksakov, Y. in . Samarin.
For the "Westerners" was characterized by a certain set of ideas, which they defended in disputes. This ideological complex included: the denial of the identity of the culture of any people; criticism of the cultural retardation of Russia; worship before the culture of the West, its idealization; Recognition of the need for modernization, "seeing" of Russian culture, as borrowing of Western European values. The ideal of man Westerners considered a Europeans - a business, pragmatic, emotionally discreet, rational creature, distinguished by "healthy egoism." A religious orientation for Catholicism and ecumenism (the merger of Catholicism with Orthodoxy) was characteristic of "Westerners" and cosmopolitanism. According to the political sympathies of "Westerners" was republicans, antimonarchical moods were inherent.
In fact, "Westerners" were supporters of industrial culture - the development of industry, natural science, technology, but in the framework of capitalist, private society relations.
They were opposed to "Slavophiles", distinguished by their complex stereotypes. They were characterized by a critical attitude to the culture of Europe; her rejection of both antiguman, immoral, lackless; Absolutization in it the features of decline, decades, decomposition. On the other hand, they distinguished nationalism and patriotism, the worship of the culture of Russia, the absolutization of its uniqueness, identity, the heroization of the historical past. "Slavophiles" their expectations were associated with the peasant community, considering it as a keeper of all "saint" in culture. The spiritual core of the culture was considered to be Orthodoxy, which was also considered uncritically, exaggerated his role in the spiritual life of Russia. Accordingly, antiscolitsism was approved and a negative attitude towards ecumenism. Slavophiles distinguished the monarchic orientation, the worship of the peasant's figure - the owner, the "host", and a negative attitude towards the workers as a "ulcer of society", the product of the decomposition of its culture.
Thus, "Slavophiles", in fact, defended the ideals of agrarian culture and occupied the guardianship, conservative positions.
The confrontation of the "Westerners" and "Slavophiles" reflected a growing contradiction between agrarian and industrial cultures, between two forms of ownership - feudal and bourgeois, between two classes - nobility and capitalists. But the contradictions and inside the capitalist relations were drained to the drainage and the bourgeoisie. The revolutionary, the proletarian direction in the culture is allocated as an independent and, in fact, will determine the development of the culture of Russia in the twentieth century.
Education and enlightenment
In 1897, the All-Russian population census was held. According to the census, in Russia the average literacy rate was 21.1%: men - 29.3%, in women - 13.1%, about 1% of the population had higher and secondary education. In high school, in relation to the whole competent population, only 4% studied. At the turn of the century, the education system continued to include three steps: initial (chip-executive schools, folk schools), secondary (classical gymnasiums, real and commercial schools) and high school (universities, institutes).
1905 The Ministry of Folk Enlightenment issued a draft law "On the introduction of universal primary learning in the Russian Empire" for consideration by the II State Duma, but this project has not received the force of law. But the growing need for specialists contributed to the development of the highest, especially technical, education. In 1912, Russia had 16 higher technical educational institutions, in addition to private institutions. Facials of both sexes were taken to the university, regardless of national affiliation and political views. Therefore, the number of students has grown noticeably - from 14 thousand in the mid-1990s to 35.3 thousand in 1907. Further development also received a higher women's education, and legally in 1911 was recognized as women's right to higher education.
Simultaneously with Sunday schools, new types of cultural and educational institutions for adults began to operate - working courses, educational work societies and folk houses - peculiar clubs with a library, an assembly hall, tea and a trading shop.
A great influence on the education was the development of periodic press and book publishing. In the 1860s, 7 daily newspapers were published and about 300 typography worked. In the 1890s - 100 newspapers and approximately 1000 printing houses. And in 1913, 1263 newspapers and magazines were already issued, and in the cities there were approximately 2 thousand bookstores.
By the number of published books, Russia ranked third in the world after Germany and Japan. In 1913, 106.8 million copies of books were published only in Russian. The largest book publishers A. S. Suvorin in St. Petersburg and I.D. Sotin in Moscow contributed to the admission of people to literature, releasing books at affordable prices: "Cheap library" Suvorin and "Library for self-education" Sytin.
The process of enlightenment was intense and successful, and the number of reading public increased rapidly. This is evidenced by the fact that at the end of the XIX century. There were approximately 500 public libraries and about 3 thousand Zemsky folk folk, and in 1914 there were about 76 thousand different social libraries in Russia.
An equally important role in the development of culture was played by the "illusion" - cinema appeared in St. Petersburg literally a year after its invention in France. By 1914 In Russia, there were already 4,000 cinemas, in which not only foreign, but also domestic paintings. The need for them was so great that in the period from 1908 to 1917 more than two thousand new feature films were filmed. In 1911-1913. V.A. Oldevich has created the world's first surround animation.
The science
The XIX century brings significant successes in the development of domestic science: it claims equalization with Western European, and sometimes for superiority. It is impossible not to mention a number of works of Russian scientists who led to world-class achievements. D. I. Mendeleev in 1869 opens a periodic system of chemical elements. A. G. Tabletov in 1888-1889. Sets the laws of the photo effect. In 1863, the work of I. M. Sechenov "Brain Reflexes" comes out. K. A. Timiryazev Bases the Russian School of Plant Physiology. P. N. Applechkov creates a arc light bulb, A. N. Lodody - incandescent light bulb. A. S. Popov invents radiotelegraph. A. F. Mozhaisky and N. E. Zhukovsky with its research in the field of aerodynamics laid the foundations of aviation, and K. E. Tsiolkovsky is known as the founder of astronautics. PN Lebedev is the founder of studies in the field of ultrasound. I. I. Mechnikov explores the region of comparative pathology, microbiology and immunology. Basics of new sciences - biochemistry, biogeochemistry, radioogeologies - laid V.I. Vernadsky. And this is not a complete list of people who have made an invaluable contribution to the development of science and technology. The value of the scientific foresight and a number of fundamental scientific problems set by scientists at the beginning of the century becomes clear only now.
Humanitarian sciences experienced a great influence of the processes that took place in natural science. Humanitarian scientists like VO Klyuchevsky, S.F. Platonov, S.A. Hungarians and others, fruitfully worked in the field of economics, history, literary studies. In philosophy, idealism was widespread. Russian religious philosophy with its search for ways to connect material and spiritual, the approval of the "new" religious consciousness was hardly the most important area not only science, ideological struggle, but also of the whole culture.
The foundations of the religious-philosophical Renaissance, which was noted by the "silver age" of Russian culture, were laid by V.S. Solovyov. His system is the experience of the synthesis of religion, philosophy and science, "and not the Christian doctrine is enriched with him at the expense of philosophy, but on the contrary, he introduces Christian ideas into philosophy and enriches and fertilizes philosophical thought" (V. V. Zenkovsky). Having a brilliant literary talent, he made philosophical problems accessible by wide ranges of Russian society, moreover, he brought Russian thought to universal expanses.
This period, noted by the whole constellation of brilliant thinkers - N.A. Berdyaev, S.N. Bulgakov, D.S. Merezhkovsky, G.P. Fedotov, P.A. Florensky and others - largely determined the direction of development of culture, philosophy, ethics not only in Russia, but also in the West.
Spiritual searches
During the "Silver Century", people are looking for new foundations for their spiritual and religious life. All sorts of mystical teachings are very common. New mysticism willingly sought her roots in the old one in the Mysticism of the Alexandrovsky era. As for a hundred years earlier, the teachings of Freemasonry, recolacation, Russian split and other mystics became popular. Many creative people of that time took part in mystical rites, although not all of them believed in their content. V. Bryusov, Andrei White, D. Merezhkovsky, Z. Gippius, N. Berdyaev and many others were fond of magical experiments.
A special place among the mystical rites spreading at the beginning of the twentieth century was held theurgy. The theurgy thought "as a single-generable mystical act, which should be prepared by the spiritual efforts of single, but, accomplishing, irreversibly changes the human nature as such" (A. Ekind). The subject of the dream was the real transformation of each person and the whole society as a whole. In the narrow sense, the tasks of the teurgy understood almost, as well as the tasks of therapy. The idea of \u200b\u200bthe need to create a "new person" we are on finding such revolutionary figures as Lunacharsky and Bukharin. Parody of Teurgy is represented in the works of Bulgakov.
"Silver Age" - the time of opposition. The main opposition of this period is the opposition of nature and culture. Vladimir Soloviev, the philosopher, who had a huge impact on the formation of the ideas of the "silver century," believed that the victory of culture over nature would lead to immortality, since "death is a clear victory of senselessness over the meaning, chaos over space." To victory over death was supposed to, in the end, lead and theurgy.
In addition, the problems of death and love are closely associated. "Love and death become the main and hardly by the only forms of human existence, the main means of his understanding," said Solovyov. Understanding love and death bring the Russian culture of "Silver Century" and psychoanalysis. Freud recognizes the main inner forces affecting a person - libido and Tanatos, respectively, sexuality and desire for death.
Berdyaev, considering the problem of sex and creativity, believes that the new natural order should come, in which the work will win - "Paul feeding will be transformed into the floor creative."
Many people sought to break out beyond everyday life, in search of a different reality. They chased behind emotions, all experiences were considered a blessing, regardless of their sequence and expediency. The lives of creative people were saturated and overwhelmed with experiences. However, the consequence of such accumulation of experiences was often the deepest devastation. Therefore, the fates of many people "Silver Century" are tragic. And yet this difficult time of spiritual wandering gave rise to an excellent and original culture.
Literature
Realistic direction in Russian literature at the turn of the XX century. continued L.N. Tolstoy, A.P. Chekhov who created the best works, the theme of which were ideological search for intelligentsia and "small" man with his everyday worries, and young writers I.A. Bunin and A.I. Kuprin.
In connection with the spread of neoromantism, new artistic qualities appeared in the realism, reflecting reality. The best realistic writings A.M. Gorky reflected a wide picture of the Russian life of the XX century crisp with its own originality of economic development and ideological and public struggle.
At the end of the 19th century, when in the situation of the political reaction and the crisis of populism, part of the intelligentsia was covered by the moods of public and moral decline, decadency was spread in artistic culture, a phenomenon in the culture of the XIX-XX centuries., Noted by the refusal of citizenship, the immersion in the sphere of individual experiences. Many motives of this direction have become the property of a number of artistic currents of modernism arising at the turn of the XX century.
Russian literature began the XX century, gave rise to wonderful poetry, and the most significant direction was symbolism. For symbolists who believed in the existence of a different world, the symbol was a sign, and represented the connection between the two worlds. One of the ideologues of the symbolism D.S. Merezhkovsky, whose novels permeated with religious and mystical ideas, considered the prevalence of realism, the main reason for the decline of the literature, and proclaimed the "symbols", "mystical content", as the basis of new art. Along with the requirements of the "clean" art, the symbolists professed individualism, they are characterized by the topic of "spontaneous genius", close to the Spirit to Nietzschean "Superstek".
It is customary to distinguish between the "senior" and "junior" symbolists. "Senior", V. Bruce, K. Balmont, F. Sologub, D. Merezhkovsky, 3. Hippius, who came to the literature in the 90s, the period of the deep crisis of poetry, preached the cult of beauty and free self-expression of the poet. "The younger" symbolists, A. Block, A. White, Vyach. Ivanov, S. Solovyov, the philosophical and theosophical search was put forward to the fore.
The reader the symbolists offered a colorful myth about the world, created under the laws of eternal beauty. If you add a refined image, the musicality and ease of a syllable, becomes clear to the stable popularity of poetry of this direction. The influence of symbolism with its intense spiritual quest, the captivating artistry of creative manners experienced not only replaced symbols of aqmeists and futurists, but also writer-realist A.P. Chekhov.
By 1910, "symbolism graduated from the development of development" (N. Gumilev), he was changed acmeism. N. Gumilev, S. Gorodetsky, A. Akhmatova, O. Mandelshtam, V. Narbut, M. Kuzmin were the participants of the Aqmeist groups. They declared the liberation of poetry from the symbolist appeals to the "ideal", the return of it clarity, the substance and "joyful admonness of being" (N. Gumilev). Aqmeism is inherent in the rejection of moral and spiritual quest, a tendency to aesthetism. A. Block with an exacerbate sense of citizenship noted the main drawback of aqmeism: "... they do not even want to have the shadows of the idea of \u200b\u200bthe Russian life and the life of the world in general." However, not all his postulates, Aqmeists embodied in practice, this is evidenced by the psychologist of the first collections A. Akhmatova, the library of early 0. Mandelstam. Essentially, the aqmeists were not so much organized with a common theoretical platform as a group of talented and very different poets that personal friendship united.
At the same time, another modernist current - futurism, disintegrating into several groups: "Association of egofulurists", "Mezonin of Poetry", "Centrifuge", "Giley", whose participants called themselves by Cubal fellow, beland, i.e. People from the future.
Of all the groups, at the beginning of the century, proclaimed the thesis: "Art - the game", most consistently embodied him in their work of futurists. Unlike symbolists with their idea of \u200b\u200b"life-in", i.e. World Transfiguration with art, futurists focused on the destruction of the old world. Common for futurists was the denial of traditions in culture, the fascination of the form. Scandalous fame received the requirement of Cubal fell 1912 "Throw Pushkin, Dostoevsky, Tolstoy from a steamer of modernity."
The groups of acmeists and futurists, arising in the controversy with symbolism, in practice were very close to him and the fact that their theories were based on an individualistic idea, and the desire for the creation of bright myths, and preferential attention to the form.
There were vivid individuals in the poetry of this time, which cannot be attributed to a certain current - M. Voloshin, M. Tsvetaeva. No other era gave such an abundance of their own exclusivity declarations.
A special place in the literature of the windows of the ages was taken by peasant poets like N. Klyuev. Without nominating a clear aesthetic program, its ideas (the combination of religious and mystical motives with the problem of protecting the traditions of peasant culture) They were embodied in creativity. "Kliyev people because the Yamba spirit of Bratansky is coming around with the belonging of an illiterate Olonetsky Saucer" (Mandelstam). With peasant poets, especially with Klyov, was close at the beginning of S. Yesenin, which combined the traditions of folklore and classical art in his work.
Theater and music
The most important event of the socio-cultural life of Russia at the end of the XIX century. It was the discovery of an artistic theater in Moscow in 1898, founded by K. S. Stanislavsky and V.I. Nemirovich-Danchenko. In the formulation of the Pieces of Chekhov and Gorky, new principles of acting art, director, design performances were formed. An outstanding theatrical experiment, enthusiastically encountered by a democratic public, was not adopted by conservative criticism, as well as representatives of symbolism. V. Bryusov, supporter of aesthetics of the conditional symbolic theater, were closer to experiments V.E. Meyerhold - mod metaphorical theater.
In 1904, theater V.F. Theater appeared in St. Petersburg Commissioner, the repertoire of which reflected the aspirations of the democratic intelligentsia. Director's creativity E.B. Vakhtangov marked the search for new forms, its production 1911-12. Wear joyful, spectacular character. In 1915, the 3rd Studio MCAT was created by the 3rd Studio, which later became theater of his name (1926). One of the reformers of the Russian Theater, the founder of the Moscow Chamber Theater A.Ya. Tairov sought to create a "synthetic theater" predominantly romantic and tragedy repertoire, to the formation of actors of virtuoso skill.
The development of the best traditions of the musical theater is associated with the St. Petersburg Mariinsky and Moscow large theaters, as well as with the private opera S. I. Mamontov and S. I. Zimin in Moscow. The most prominent representatives of the Russian vocal school, world-class singers were F.I. Shalyapin, L.V. Sobinov, N.V. Nezhdanova. Balletmaster M.M. Balletmaster was the reformers Fokin and Ballerina A.P. Pavlova. Russian art received world recognition.
Outstanding composer N.A. Roman Korsakov continued to work in the Opera-Fairy Tale Genre Loved. The highest model of realistic drama was his opera "Tsarist Bride" (1898). He, being a professor at the Petersburg Conservatory in the class of composition, brought up a whole Pleiad of Talented Pupils: A.K. Glazunov, A.K. Lyadov, N.Ya. Meakovsky and others.
In the work of the composers of the younger generation at the turn of the XX century. There was a departure from social issues, strengthening interest in philosophical and ethical issues. This most complete expression was found in the work of a brilliant pianist and a conductor, an outstanding composer S. V. Rakhmaninov; in emotionally tense, with sharp features of modernism music A.N. Scriabin; In the works I.F. Stravinsky, in which the interest in folklore and the most modern musical forms were harmoniously combined.
Architecture
The era of industrial progress at the turn of the XIX-XX centuries. produced a genuine coup in construction. In the city landscape, the construction of a new type, such as banks, shops, factories, stations, were becoming more and more. The emergence of new building materials (reinforced concrete, metal structures) and improving the construction equipment made it possible to use constructive and artistic techniques, the aesthetic understanding of which led to the approval of the style of Modern!
In the work of F.O. Shechor was most embodied the main development trends and genres of Russian modern. The formation of a style in the work of the master went in two directions - national-romantic, in line with the unaware style and rational. The most complete line of modernity is shown in the architecture of the Nikitsky gate mansion, where, refusing traditional schemes, an asymmetric principle of planning is applied. The discusing composition, the free development of volumes in space, asymmetric protrusions of the erkers, balconies and poles, emphasized the protruding cornice - all of this demonstrates the principle of improving the architectural structure of organic form. In the decorative finish, the mansion is used by such technicians characteristic of modernity, like colored stained glass windows and a mosaic frieze flat ornament. The whimsical twists of the ornament are repeated in the weave of window stained glass windows, in the figure of balcony lattices and a street fence. The same motive was used when finishing the interior, for example, in the form of marble railing stairs. Furniture and decorative details of the interior of the building constitute a single integer with a common intention of the structure - to turn the household environment in a kind of architectural performance, a similar atmosphere of symbolic plays.
With increasing rationalistic trends in a number of buildings of Shechor, there are features of constructivism - style, which will be formed in the 20s.
In Moscow, a new style expressed itself especially brightly, in particular in the work of one of the creators of the Russian Modern L.N. Kekushev in the unaware style worked by A.V. Schusev, V.M. Vasnetsov et al. In St. Petersburg, the modern classicism experienced the influence of monumental classicism, as a result of which another style appeared - neoclassicism.
The integrity of the approach and the ensemble decision of architecture, sculptures, painting, decorative arts Modern is one of the most consistent styles.
Sculpture
Like the architecture, the sculpture of the ages of the eyelids was released from eclecticism. The update of the artistic and generated system is associated with the influence of impressionism. The features of the new method are "explosion", the bugger of the texture, the dynamism of the shapes penetrated by air and light.
The very first consistent representative of this direction P.P. Trubetskaya, refuses to impressional surface modeling, and enhances the overall impression of grazing coarse force.
In his own way, the monumental pathos and a wonderful monument to Gogol in Moscow Sculptor N.A. Andreeva, subtly transmitting the tragedy of the great writer, "heart fatigue", so consonant era. Gogol is captured at a minute of concentration, deep meditation with a launch of melancholic gloominess.
An original interpretation of impressionism inherent in creativity A.S. Golubina, which reworked the principle of image phenomena in motion in the idea of \u200b\u200bawakening the human spirit. Female images created by the sculptor are marked by a sense of compassion for people, tired, but not broken life tests.
Painting
At the turn of the centuries, instead of the realistic method of direct display of reality in the forms of this reality, it was approved by the priority of artistic forms reflecting the reality only indirectly. Polarization of art forces at the beginning of the XX century, the controversy of multiple artistic groups has stepped up exhibition and publishing (in the field of art) activities.
Genre painting in the 90s lost a leading role. Artists in finding new topics appealed to changes in the traditional way of life. They were equally attracted by the topic of the split of the peasant community, the prose of the discouraging work and the revolutionary events of 1905. The erosion of the boundaries between genres at the turn of the centuries in the historical topic led to the emergence of a historical and household genre. A.P. Ryabushkin was not interested in global historical events, but the aesthetics of the Russian life of the XVII century, the sophisticated beauty of the ancient Russian patrony, underlined decorativeness. Penetrating lyrism, a deep understanding of the peculiarity of the lifeguard, the characters and psychology of people of Dopurerovskaya Rus, the best canvas of the artist are noted. Historical painting Ryabushkin is the country of ideal where the artist found a rest from the "lead abominations" of modern life. Therefore, the historical life on his canvases is not a dramatic, but an aesthetic side.
In the historical canvas A. V. Vasnetsov we find the development of the landscape start. Creativity M.V. Nesterova represented a variant of a retrospective landscape, through which the high spirituality of heroes was transmitted.
I.I. Levitan, brilliantly owned by the effects of a plenary writing, continuing the lyrical direction in the landscape, went to impressionism and was the creator of the "concept landscape" or "mood scenery", which is inherent in the rich spectrum of experiences: from joyful rates to philosophical reflections on the glority of the whole earth.
K.A. Korovin is the brightest representative of Russian impressionism, the first, among Russian artists, who deliberately declared on French impressionists, more and more from the traditions of the Moscow school of painting with her psychologism and even drama, trying to convey this or other spiritual state of color music. He created a series of landscapes, not complicated by nor external plot-narrative, nor psychological motives. In the 1910s, under the influence of theatrical practice, Korovin came to the bright, intense letter of the letter, especially in the artist's favorite artist. The artist of all his art argued the intrinsicity of purely picturesque tasks, he forced to evaluate the "charm of incompleteness", "sketchiness" of picturesque manner. Korovin canvas is a "eye feast".
Central figure of art of the stroke of centuries - V.A. Serov. His mature works, with impressionistic light-care and dynamics of free smear, marked the turn from the critical realism of the mobile phone to the "realism of the poetic" (D.V. Sarabianov). The artist worked in different genres, but it is especially significant to his portrait student, endowed with an exacerbate sense of beauty and ability to sober analysis. The search for the laws of artistic transformation of reality, the desire for symbolic generalizations led to a change in the artistic language: from the impressionistic reliability of the 80-90s to the convention of modernity in historical compositions.
One after another entered into Russian culture Two masters of picturesque symbolism, created in their works the sublime world - MA Vrubel and V.E. Borisov Musatov. The central image of Crubel's creativity is a demon who embodied the rebellious impulse, which the artist experienced himself and felt in the best contemporaries. For the art of the artist, the desire for the formulation of philosophical problems. His reflections on truth and beauty, the high purpose of art is acute and dramatically, in the symbolic form inherent in it. The symbolic-philosophical generalization of images, Vrubel developed its picturesque language - a wide smear "crystalline" shape and color, understood as painted light. Paints, sparkling like gems, strengthen the feeling of special spirituality inherent in the artist's works.
The art of Lyrics and Dreamer Borisov-Musatova is a reality, turned into a poetic symbol. Like Vrubel, Borisov Musatov created a beautiful and sublime world in his canvases, built according to the laws of beauty and so not similar to the surrounding. The art of Borisov-Musatov is imbued with sad thinking and quiet sorrow with the feelings that many people experienced, "when the society has so much has been updated, and many people did not know where to look for." His stylistics developed from impressionistic light-air effects to the picturesque and decorative version of post-methodsionism. In the Russian artistic culture of the 19th - XX centuries. Creativity Borisov-Musatova is one of the brightest and large-scale phenomena.
Far from modernity theme, "Dreamy Retrospectivism" is the main association of St. Petersburg artists "The World of Art". Rejecting academically-salon art and the tendentiousness of the mobile phone, relying on the poetics of symbolism, "Miriskusniki" was engaged in searching for an artistic image last. For such a frank rejection of the modern reality of Miriskusenikov, they criticized from all sides, accusing themselves in the past - Passeism, in Decadence, in antidemocrat. However, the emergence of such an artistic movement was not an accident. "The world of art" was a kind of response of the Russian creative intelligentsia for the universal politicization of culture at the turn of the XIX-XX centuries. and excessive journalism of fine art.
Creativity N.K. Roerich addressed the pagan Slavic and Scandinavian antiquity. The basis of his painting has always been a landscape, often directly natur. The features of the Landscape of Roerich are associated with the assimilation of the experience of Modern style - the use of elements of a parallel perspective to connect different objects in one composition, understood as finely equal, and with the hobby of the culture of ancient India - the opposition of the Earth and the sky, understood by the artist as a source of spiritualist start.
By the second generation of "Miriskusnikov" belonged to B.M. Kustodiev, gifted by the ironic stylization of folk lubka, z.e. Serebryakova who confessed the aesthetics of neoclassicism.
The merit of the "world of art" was the creation of highly artistic books graphics, estampa, new criticism, wide publishing and exhibition activities.
Moscow participants of the exhibitions, opposing the Westernity of the "World Peace" National Subject, and the graphic styling - appeal to the Plenuel, established the exhibition association "Union of Russian Artists". In the depths of the "Union", the Russian version of impressionism and the original synthesis of the household genre with the architectural landscape was developed.
The artists of the Association "Bubnov Valet" (1910-1916), contacting the aesthetics of postmingnessism, fusism and cubism, as well as to the receptions of Russian Lubka and the folk toys, solved the problems of identifying the materiality of nature, the formation of form color. The initial principle of their art was approved by the subject in counterweight. In this regard, the image of a non-residential nature - still life - put forward in the first place. Evainless, "still lifeworm" began to be introduced into the traditionally psychological genre - portrait.
"Lyrical cubism" R.R. Falk was distinguished by a kind of psychologist, fine color-plastic harmony. School of skills traveled to the school in such outstanding artists and teachers like V.A. Serov and K.A. Korovin, in combination with picturesque-plastic experiments of the leaders of the "Bubnoy Vnet" I. I. Mashkova, M.F. Larionova, A.V. Lentulov determined the origins of the original artistic manner of Falk, the bright embodiment of which is the famous "Red Furniture".
From the mid-10 years, futurism, one of the techniques of which was "installation" of objects or their parts taken from different points and at different times, became an important component of the visual style of the "Bubnoy Vnet".
The primitivistic trend associated with the assimilation of the style of children's drawing, signboard, Lubka and the folk toy, manifested itself in the work of M.F. Larionova, one of the organizers of the "Bubnoy Valtnya. Both folk naive art and Western expressionism are close to fantastic-irrational canvas M.Z. Stegal. The combination of fantastic flights and wonderful signs with the everyday details of the provincial lobby on the clutters of Stegal is akin to Gogol scenes. The unique creativity of P.N. was in contact with the primitivistic line. Filonova.
By the 10th years of the last century include the first experiments of Russian artists in abstract art, genuine theorists and practitioners of V. V. Kandinsky and K.S. Malevich. At the same time, the creativity of K.S. Petrova-Vodkin, who declared a continuity with ancient Russian icon-painting, testified to the vitality of the tradition. The extraordinary diversity and inconsistency of artistic quest, numerous groups with their software plants reflected a tense socio-political and complex spiritual atmosphere of their time.
Conclusion
"Silver Age" was exactly the milestone, which predicted future changes in the state and moved into the past with the arrival of the bloody-red 1917, unrecognizable human souls. And as today we wanted to assure us in the opposite, but everything ended after 1917, with the beginning of the civil war. There was no "silver century" after that. In the twenties, inertia continued (the heyday of the immudy), because such a wide and mighty wave, which was the Russian "Silver Age," could not move for some time before hitting and crashing. If most poets, writers, critics, philosophers, artists, director, composers, individual creativity and the general labor of which were created by the "Silver Age", but the epoch was ended, were alive. Each of its active participant realized that, although people were left, the characteristic atmosphere of the era, in which the talents grew up like mushrooms after the rain, went to no. The cold lunar landscape remained without the atmosphere and creative personality - each in a separately closed hoist of his creativity.
The attempt to "modernize" culture related to the reform of P. A. Stolypin was unsuccessful. Her results were smaller than expected, and began new contradictions. The rise in voltage in society was faster than the answers to the arising collisions were. The contradictions between the agrarian and industrial cultures were aggravated, which was also expressed in contradictions of economic forms, interests and motives of people's creativity, in the political life of society.
Deep social transformations were required in order to provide space for the cultural creativity of the people, significant investments in the development of the spiritual sphere of society, its technical base, for which the government did not have enough funds. The patronship, private support and funding of significant public, cultural events saved and financing. Nothing could radically transform the cultural appearance of the country. The country fell into the strip of unstable development and did not find a different exit, except for the social revolution.
The "Silver Age" canvas turned out to be bright, complex, contradictory, but immortal and unique. It was a complete sunshine creative space, bright and vital, eager for beauty and self-affirmation. It reflected the existing reality. And although we call this time "Silver", and not the "golden age" maybe it was it that was the most creative epoch in Russian history.
1. A. Etkind "Sodom and Psyche. Essays of the intellectual history of the Silver Century, "M., Iz-Garant, 1996;
2. Vl. Solovyov, "Works in 2 tons.", Vol. 2, Philosophical Heritage, M., Thought, 1988;
3. N. Berdyaev "Philosophy of Freedom. The meaning of creativity, "from the domestic philosophical thought, M., True, 1989;
4. V. Khodasevich "Necropolis" and other memories ", M., World of Art, 1992;
5. N. Gumilev, "Works in three volumes", T.3, M., Fiction, 1991;
6. T.I. Balakina "History of Russian Culture", Moscow, "AZ", 1996;
7. S.S. Dmitriev "Essays History of Russian Culture Nach. Xx century, Moscow, "Enlightenment", 1985;
8. A.N. Zholkovsky "Wandering Dreams. From the history of Russian modernism, "Moscow," Sov. Writer ", 1992;
9. L.A. Rapatskaya "Art Culture of Russia", Moscow, "Vlados", 1998;
10. E. Shamurin "The main flows in pre-revolutionary Russian poetry", Moscow, 1993.
The first decade of the XX century entered the history of Russian culture called "Silver Age." It was the time of the unprecedented heyday of all types of creative activity, the birth of new directions in art, the appearance of pleany of brilliant names, which became pride not only Russian, but also of world culture.
Artistic culture of the stroke of ages is an important page in the cultural heritage of Russia. Idea inconsistency, ambiguity were inherent not only to artistic directions and trends, but also the work of individual writers, artists, composers. It was a period of updating a variety of species and genres of artistic creativity, rethinking, "universal reassessment of values", according to M. V. Nesterov. Related democrats have become ambiguous, even in the environment of progressively thinking cultural figures. A serious criticism of many realist artists was subjected to primate sociality in motion.
In Russian artistic culture of the late XIX - early XX century. got the spread « decadence» , Indicates such phenomena in art as a refusal of civilian ideals and faith in the mind, immersion in the sphere of individualistic experiences. These ideas were an expression of the social position of the part of the artistic intelligentsia, which tried to "leave" from the complexity of life into the world of dreams, irreality, and sometimes mystics. But in this way, she reflected crisis phenomena of the then public life in their work.
Decadent sentiments captured the figures of various artistic directions, including realistic. However, these ideas were more often inherent in modernist flows.
Concept "modernism" (FR. TEE1EGUE - modern) included many phenomena of the literature and art of the twentieth century, born at the beginning of this century, new compared to the realism of the previous century. However, new artistic and aesthetic qualities appear in the realism of this time: the "framework" of a realistic vision of life expands, searching for ways of self-expression personality in literature and art. The characteristic features of art become synthesis, indirect reflection of life, in contrast to the critical realism of the XIX century, with the specific display of reality inherent in it. With this feature of art, the widespread dissemination of neoromantism in literature, painting, music, the birth of a new stage realism is associated with the literature.
At the beginning of the XX century. There were many literary directions. This is symbolism, and futurism, and even ego paturism Igor Northerner. All these directions are very different, have different ideals, pursue different purposes, but they converge in one: to work on a rhythm, in a word, bring the game with sounds to perfection.
At the same time, the voice began to sound the representative of the realism of the new generation, which protested against the main principle of realistic art - the immediate image of the surrounding world. According to the ideologues of this generation, art, being the synthesis of two opposite principles - matter and spirit, can not only "display", but also "transform" the existing world, to create a new reality.
Chapter 1.Education
The modernization process provided for not only indigenous changes in the socio-economic and political spheres, but also a significant increase in literacy, educational level of the population. To the honor of the government, this need was taken into account. Public spending on public education from 1900g. in 1915 increased more than 5 times.
The focus was paid to primary school. The government had the intention to introduce universal primary education in the country. However, school reform was inconsistent. Several types of elementary school were preserved, the church-parish was the most common (in 1905. They were numbered about 43 thousand). The number of Zemsky primary schools has grown (in 1904 there were 20.7 thousand, and in 1914 - 28.2 thousand) in 1900. In primary schools of the Ministry of National Education, more than 2.5 million students studied, and in 1914. - Already about 6 million.
The restructuring of the secondary education system began. The number of gymnasiums and real schools grew. In the gymnasiums increased the number of hours drawn to the study of items of the natural-mathematical cycle. Graduates of realuchilius were given the right to enter higher technical educational institutions, and after passing the Latin language exam on the physico-mathematical faculties of universities.
At the initiative of entrepreneurs, commercial (7-8-year-old) schools were created, which gave general educational and special training. In them, in contrast to the gymnasiums and real schools, the joint training of young men and girls was introduced. In 1913 In 250 commercial schools that were under the auspices of commercial and industrial capital, 55 thousand people studied, including 10 thousand girls. The number of secondary special educational institutions has increased: industrial, technical, rail, mountainous, land, agricultural, etc.
The network of higher educational institutions has expanded: new technical universities appeared in St. Petersburg, Novocherkassk, Tomsk. A university was opened in Saratov, new technical universities appeared in St. Petersburg, Novocherkassk, Tomsk. To ensure the reform of elementary school in Moscow and St. Petersburg, pedagogical institutions opened, as well as over 30 higher women's courses, which posted the beginning of women's mass access to higher education. By 1914 There were about 100 higher educational institutions in which approximately 130 thousand people were studied. At the same time, over 60% of students did not belong to the noble class. Higher government officials were preparing in privileged educational institutions of lyceums.
Nevertheless, despite the progress in the education case, 3/4 of the country's population remained illiterate. The average and higher school due to the high payment for the training was unavailable a significant part of the inhabitants. 43 kopeck was spent on enlightenment. per capita, while in England and Germany - about 4 rubles, in the USA - 7 rubles. (in recalculation of our money).
Chapter 2.The science
Russia's entry into the era of industrialization was observed in the development of science. At the beginning of the XX century. The country has made a significant contribution to the global scientific and technological progress, which was called the "revolution in natural science", since the discovery made during this period led to the revision of established ideas about the world around.
Physicist Lebedev P. N. For the first time in the world, established general patterns inherent in wave processes of various nature (sound, electromagnetic, hydraulic, etc.), made other discoveries in the field of wave physics. He created the first physical school in Russia.
A number of outstanding discoveries in theory and practice of aircraft industry Made Zhukovsky N. E. The student and a sparer of Zhukovsky was an outstanding mechanic and mathematician Chaplygin S. A.
The origins of modern cosmonautics stood a nugget, the teacher of the Kaluga gymnasium Tsiolkovsky K. E. in 1903. He published a number of brilliant work, justified the possibility of space flights and determining ways to achieve this goal.
An outstanding scientist Vernadsky V.I. received world famous thanks to the encyclopedic works that served as the basis for the emergence of new scientific directions in geochemistry, biochemistry, radiology. His teachings on the biosphere and the noosphere laid the foundation of modern ecology. The innovation of the ideas expressed to them fully realizes only now when the world found himself on the verge of an ecological catastrophe.
Unprecedented splash was characterized by research in the field of biology, psychology, human physiology. Pavlov I. P. created the doctrine of the highest nervous activity, on conditional reflexes. In 1904 He was awarded the Nobel Prize for research in the field of digestion physiology. In 1908 The Nobel Prize received the biologist Mesnikov I. I. for works on immunology and infectious diseases.
The beginning of the XX century is the heyday of Russian historical science. The largest specialists in the field of domestic history were Klyuchevsky V.O., Kornilov A.A., Pavlov-Silvansky N.P., Platonov S. F. The problems of universal history were engaged in Vinogradov P.G., Vipper R. Yu., Tarla E . B. World Fame received the Russian School of Oriental Studies.
The beginning of the century was marked by the appearance of works by representatives of the original Russian religious and philosophical thought (Berdyaev N. A., Bulgakov N.I., Soloviev V.S., Florensky P. A. and others). A large place in the writings of philosophers was occupied by the so-called Russian idea - the problem of the identity of the historical path of Russia, the originality of its spiritual life, the special purpose of Russia in the world.
At the beginning of the 20th century, scientific and technical societies were popular. They united scientists, practitioners, enthusiast lovers and existed for contributions to their members, private donations. Some received small government subsidies. The most famous were: Free Economic Society (it was founded back in 1765), Society of History and Antiquities (1804), Society of Russian Literature Amateurs (1811), Geographical, Technical, Physico-Chemical, Botanical, Metallurgical, Several Medical, agricultural, etc. These societies not only were centers of research work, but also widely promoted scientific and technical knowledge among the population. The characteristic feature of the scientific life of that time was the congresses of naturalists, doctors, engineers, lawyers, archaeologists, etc.
Chapter 3.Literature
Most accurate image "Silver Century" manifested itself in the literature. On the one hand, the works of writers retained the sustainable traditions of critical realism. Tolstoy in his last artworks raised the problem of personality resistance to the problematic standards of life ("live corpse", "Father Sergius", "After Bala"). His letters - appeals to Nicholas II, journalistic articles are imbued with pain and anxiety for the fate of the country, the desire to influence power, block the evil road and protect all oppression. The main idea of \u200b\u200bjournalism is thick - the inability to eliminate evil violence. Anton Pavlovich Chekhov during these years created the plays "three sisters" and "cherry garden", which reflected important changes in society. Socially pointed plots were in honor and young writers. Ivan Alekseevich Bunin investigated not only the external side of the processes occurring in the village (the stratification of the peasantry, the gradual death of the nobility), but also the psychological consequences of these phenomena, how they influenced the souls of Russian people ("Village", Sukhodol, cycle " peasant "stories). Kubrin A. I. showed the unsightly side of the army life: to disgrace the soldiers, devastation and confusion of the "Lord of Officers" ("Fight"). One of the new phenomena in the literature was the reflection of the life and struggle of the proletariat. The impulse of this topic was Maxim Gorky ("enemies", "Mother").
The Lyrics of the Silver Century is diverse and musical. The epithet itself "Silver" sounds like a bell. Silver Age is a whole constellation of poets. Poets - musicians. The poems of the "Silver Century" is the music of words. In these verses there was not a single unnecessary sound, not a single semicolon, not to the place of the right point. Everything is thoughtful, clearly and musically.
In the first decade of the 20th century, the whole Pleiad of talented "peasant" poets came to Russian poetry - Sergey Yesenin, Nikolay Klyuev, Sergey Klychkov.
The poets-symbolists who announced the war materialistic worldview, who declared the war materialistic worldview, arguing that faith, religion is the cornerstone of human being and art. They believed that poets were endowed with the ability to communicate to the Foreign World through artistic symbols. Initially, symbolism accepted the shape of decades. Under this term implied the mood of decline, longing and hopelessness, severely pronounced individualism. These features were characterized by early poetry Balmont K.D., Alexander Bloka, Bolsova V. Ya.
After 1909. There is a new stage in the development of symbolism. It is painted in the Slavophile colors, demonstrates contempt for the "rationalistic" west, foreshadows the death of Western civilization presented, including official Russia. At the same time, he turns to the spontaneous folk forces, to Slavic paganism, is trying to penetrate the depths of the Russian soul and sees the roots of the country in the Russian people's folk life. These motifs sounded particularly brightly in the work of the block (poetic cycles "on the field of Kulikov", "Motherland") and A. White ("Silver Pigeon", "Petersburg"). Russian symbolism has become a global phenomenon. It is with him that, above all, the concept of "silver age".
Opponents of the symbolists performed ameists (from Greek. "Akme" - having a degree of something, blooming force). They denied the mystical aspirations of symbols, proclaimed the intrinsicity of real life, called on to return their initial meaning, freed from symbolic interpretations. The main criterion for assessing the creativity of aqmeistov (Gumilev N. S., Anna Akhmatova, O. E. Mandelstam)
impeccable aesthetic taste, beauty and composure of the artistic word.
The Russian artistic culture of the beginning of the 20th century experienced the influence of the originating in the West and engulfed all types of art of avant-gardium. This course has absorbed various artistic directions, who announced their gap with traditional cultural values \u200b\u200band proclaimed the ideas of creating "new arts". The vivid representatives of the Russian avant-garde were futurists (from Lat. "Futurum" -Bedy). Their poetry differed in high attention not to the content, but to the form of a poetic structure. Futurist software installations were focused on causing anti-esthetics. In their works, they used vulgar vulgar vocabulary, professional jargon, document language, poster and posters. The collections of the poems of futurists were characterized by the names: "Society for the public taste", "Darky Moon" and others. Russian futurism was represented by several poetic groups. The most vivid names were collected by the St. Petersburg group "Giley" - V. Khlebnikov, D. D. Burlyuk, Vladimir Mayakovsky, A. E. Klycheykh, V. V. Kamensky. Collections of poems and public speeches I. Northernina used stunning success.
Especially, the futurists succeeded in this. Futurism completely abandoned old literary traditions, the "old language", "old words", proclaimed a new form of words independent of the content, i.e. Literally the invention of the new language. Work on the word, the sounds became an end in itself, while the meaning of the verses was completely forgotten. Take, for example, the poem V. Klebnikov "Perevilnen":
Horses, Topot, Ink.
But not speech, and he is black.
We are going on, by a dollar copper.
Chin name is sword.
Hunger than Sword Log?
Palked and Norov Hood and Spirit of the crow's paw ...
It makes no sense in this poem, but it is great because each line is read and left to right, and on the right to the left.
Appeared, invented, new words were composed. From alone, the word "laughter" was born a whole poem "Running laughter":
Oh, reimburse the mixture!
Oh, whine mixtures!
That laugh laughs, which is mixed diluted,
Oh, whine smiling!
Oh, laughs of arrogant - the laugh of the oxides mixes!
Oh, Issue, Issued Shiming Shimaria!
Disdicarily
Usmi, Osmay, Sveta, Sveta,
Senthers, dotschers.
Oh, reimburse, Monkhai!
Oh, whine, Monkhachi.
G.lava 4.Painting
Similar processes proceeded in Russian painting. Robing positions held representatives of the realistic school, the Society of Movies operated. Repin I. E. finished in 1906. Grand Cloth "Meeting of the State Council". In the disclosure of events of the past Surikova V. I., first of all, the people were interested in the historical force, the creative beginning in man. The realistic foundations of creativity were preserved and Nesterova M. in ..
However, the fashion legislator became the style of Modern. Modernist quest touched upon the work of such major realist artists as Korovin K. A., Serov V. A .. Supporters of this area united in the Society "World of Art". They took a critical position in relation to the mobileians, believing that the latter, fulfilling the function that did not characterize the art was harmful to painting. Art, in their opinion, is independent of the scope of activity, and it should not depend on social influences. For a long period (from 1898 to 1924), the "World of Art" included almost all the largest artists - Benoit A. N., Bakst L. S., Kustodiev B. M., Lancere E. E., Malyavin F. A ., Roerich N. K., Somov K. A. "The World of Art" left a deep mark in the development of not only painting, but also operas, ballet, ornamental art, artistic criticism, exhibition. In 1907 In Moscow, an exhibition called "Blue Rose" was opened, in which 16 artists took part (Kuznetsov P. V., Sapunov N. N., Sarian M. S., etc.). It was a seeking young people who have sought to gain their individuality in the synthesis of Western experience and national traditions. Representatives of Blue Rose were associated with symbolist poets, the presentation of which was a modern attribute of the supernisage. But symbolism in Russian painting has never been a single direction. He included, for example, such as various artists, such as Vrubel M. A., Petrov-Vodkin K. S. and others.
A number of largest masters - Kandinsky V. V., Lentulov A. V., Shagal M. 3., Filonov P.N. And others - entered the history of world culture as a representative of unique styles that combined avant-garde trends with Russian national traditions.
Chapter 5.Sculpture
Creative lifting experienced and sculpture. Her awakening was largely due to the trends of impressionism. Significant success on the way of the renewal reached the Trubetskaya P. P. P .. widely fame received its sculptural portraits of Tolstoy, Witte, Shalyapin, and others. An important milestone in the history of the Russian monumental sculpture was the monument to Alexander III, open Petersburg in October 1909. He was conceived as a certain antipode to another great monument - the "copper rider" E. Falcon.
The connection of the tendencies of impressionism and modernity is characterized by the creativity of Golubina A. S. In this case, the main feature of its works is not the display of a specific image, but the creation of a generalized phenomenon: "Old age" (1898), "Running Man" (1907), "Soldier" (1907 ) "Sleeping" (1912), etc.
A significant trail in Russian art left Konenkov S.T., his sculpture was the embodiment of the continuity of the traditions of realism in new directions. He passed through the fascination with the work of Michelangelo (Samson), the Russian folk wooden sculpture ("Lesovik"), mobile traditions ("stonebroys"), a traditional realistic portrait ("A.P. Chekhov"). And with all the same, Konenkov remained a master of bright creative personality. In general, the Russian sculptural school was little affected by avant-garde trends, did not deploy such a complex gamut of innovative aspirations characteristic of painting.
Chapter 6.Architecture
In the second half of the XIX century, new opportunities opened before architecture. It was associated with technical progress. The rapid growth of cities, their industrial equipment, the development of transport, change in public life required new architectural solutions. Not only in the capitals, but also in the provincial cities, stations, restaurants, shops, markets, theaters and bank buildings were built. At the same time, the traditional construction of palaces, mansions, mansions continued. The main problem of architecture was the search for a new style. And just like in painting, the new direction in the architecture was called "Modern". One of the features of this direction was the stylization of Russian architectural motifs - the so-called non-Russian style.
The most famous architect whose creativity largely determined the development of Russian, especially Moscow modern, was F. O. Shechtel. At the beginning of his work, he relied not to the Russians, but on medieval gothic samples. In this style, the mansion of the manufacturer S. P. Ryabushinsky (1900-1902) was built. In the future, the Shechor has repeatedly applied to the traditions of Russian wooden architecture. In this respect, the building of the Yaroslavl station in Moscow (1902-1904) is very significant. In subsequent significance, the architect is increasingly approaching the direction called "rationalistic modernist", which is characterized by a significant simplification of architectural forms and structures. The most significant buildings reflecting this trend were Bank of Ryabushinsky (1903), the printing house "Morning Russia" (1907).
At the same time, along with the architects of the "New Wave", significant positions held the fans of neoclassicism (I. V. Zholtovsky), as well as masters using the technique of mixing various sculptural styles (eclectic). This was the most significant in this was the architectural solution of the building of the Metropol Hotel in Moscow (1900), built under the project V. F. Valkotta.
Chapter 7.Music, ballet, theater, cinema
The beginning of the XX century is the time of creative take-off of the great Russian composers-innovators A. N. Scriabin. I. F. Stravinsky, S. I. Taneyev, S. V. Rakhmaninova. In his work, they tried to go beyond traditional classical music, create new musical forms and images. Reached a significant heyday and musical executive culture. The Russian vocal school was represented by the names of the outstanding opera singers F. I. Shalyapin, A. V. Nezhdanova, L. V. Sobyanova, 3. Yershova.
By the beginning of the XX century. The Russian ballet ranked leading positions in world choreographic arts. The Russian ballet school relied on the academic traditions of the end of the XIX century, on the classic staged settings of the outstanding balletmaster M.I. Petipa. At the same time, the Russian ballet did not escape new trends. Young producers A. A. Gorsky and M. I. Fokin in counterweights aesthetics Academism put forward the principle of painting, in accordance with which the full-fledged authors of the performance became not only the balletmaster composer, but also the artist. Gorsky and Fokina ballets were put in the radio. K. A. Korovina, A. N. Benua, L. S. Baksta, N. K. Roerich.
The Russian Ballet School of "Silver Century" gave the world a pleiad of brilliant dancers - Anna Pavlov, T. Karsawin, V. Nizhinsky, etc.
Related feature of the culture of the beginning of the XX century. The work of outstanding theater directors. K. S. Stanislavsky, the founder of the psychological acting school, believed that the future of the theater was in an in-depth psychological realism, in solving ultra-odds of acting reincarnation. V. E. Meyerhold led in the field of theatrical convention, generalization, the use of elements of the Folk Balagan and
theater of masks.
© Museum. A. A. BakhrushinaA. Ya. Golovin. Terrible playing. Sketch of scenery to Drama M. Yu. Lermontov
E. B. Vakhtangov preferred expressive, spectacular, joyful performances.
At the beginning of the 20th century, the tendency towards the connection of various types of creative activity was expressing more clearly. At the head of this process, the "World of Art" stood, which united in its ranks not only artists, but also poets, philosophers, musicians. In 1908-1913. S. P. Dyagilev organized in Paris, London, Rome and other capitals of Western Europe "Russian Seasons", represented by ballet and opera performances, theatrical painting, music, etc.
In the first decade of the XX century in Russia, after France, a new type of art appeared - cinema. In 1903 The first "Electroathers" and "Illusions" arose, and by 1914 about 4 thousand cinemas were already built. In 1908 The first Russian gaming picture "Wall of Razin and Princess" was removed, and in 1911 - the first Full Practice film "Defense of Sevastopol". Cinematography has developed rapidly and became very popular. In 1914 Russia had about 30 domestic filmmifers. And although the bulk of the film production was films with primitive melodramatic plots, movies with world names appeared: Director Ya. A. Protazanov, actors I. I. Mozhukhin, V. V. Cold, A. G. Konen. The undoubted merit of cinema was its accessibility for all segments of the population. Russian film castors, created mainly as the screening of classical works, became the first swallow in the formation of a "mass culture" - an indispensable attribute of the bourgeois society.
Conclusion
How many newly introduced the "silver age" of poetry to music words, what a huge work carried out, how many new words created, rhythms, it seems, the unity of music has occurred with poetry. This is true, because Many poems of the poets of the "silver" century are transferred to music, and we listen and sing them, laugh and cry over them. . .
Much of the creative lift of that time included in the further development of Russian culture and now there is a heritage of all Russian cultural people. But then was intoxicating creativity, novelty, tension, struggle, challenge.
In conclusion, N. Berdyaeva, I want to describe all the horror, the entire tragedy of the situation in which the creators of spiritual culture were, the color of the nation, the best minds not only in Russia, but also the world.
"The misfortune of the cultural renaissance of the beginning of the 20th century was that in it the cultural elite was isolated in a small circle and torn off from the wide social flows of that time. It had the fatal consequences in the character, which took the Russian revolution ... The Russian people of that time lived in different floors and even in different centuries. Cultural Renaissance has not had any wide social radiation .... Many supporters and expressants of the cultural renaissance remained left, sympathized with the revolution, but there was cooling to social issues, there was an absorption of the new problems of philosophical, aesthetic, religious, mystical nature, which remained alien to people , actively participating in social movement ... The intelligentsia committed a suicide act. In Russia, before the revolution, there were two races. And the wines were on both sides, that is, on Renaissance figures, on their social and moral indifference ...
The split, characteristic of Russian history, split, growing the entire XIX century, the abyss, which unfolded between the upper sophisticated cultural layer and wide circles, folk and intelligent, led to the fact that the Russian Cultural Renaissance fell into this discontinued abyss. The revolution began to destroy this cultural renaissance and pursue cultural creators ... The figures of Russian spiritual culture in a significant part were forced to move abroad. In part, it was a payroll for the social indifference of the creators of spiritual culture "
Bibliography
1. Berdyaev N. Summunote, M., 1990,
2. Danilov A.A., Kososhulina L.G., Domestic history, history of the states and peoples of Russia, M, 2003.
3. Zichekin I. A., Kidin I. N., Russian history from Catherine Great to Alexander II,
4. Kondakov I.V., Culture of Russia, "KDU", 2007.
5. Sahars A. N., History of Russia
§ 75. Silver Age of Russian Culture
The concept of the silver century.
The turning period of Russia's life at the end of the XIX - early twentieth century, associated with the transition to the industrial society, led to the destruction of many values \u200b\u200band age-old lifests of people's life. It seemed not only around the world, but also ideas about the good and evil, beautiful and ugly, etc.
The understanding of these problems affected the culture sphere. The flowering of culture during this period was unprecedented. He covered all types of creative activity, gave rise to pleany of brilliant names. This phenomenon of the culture of the late XIX - early XX century. Received the name of the silver century of Russian culture. It is also characterized by the greatest achievements that reaffirmed the advanced positions of Russia in this area. But culture becomes more complex, the results of creative activity are more contradictory.
Science and technology.
At the beginning of the twentieth century The main headquarters of Patriotic Science was the Academy of Sciences with a developed system of institutions. Universities with their scientific societies were a significant role in the preparation of scientific personnel, as well as the All-Russian scholars.
Significant success achieved research in the field of mechanics and mathematics, which made it possible to develop new areas of science aeronautics and electrical engineering. Research has played a significant role in this. N.E. Zhukovsky, creator of hydro and aerodynamics, works on aviation theory, which served as the basis for aviation science.
In 1913, in St. Petersburg, the Russian-Baltic Plant created the first domestic aircraft "Russian Vityaz" and "Ilya Muromets". In 1911 . G. E. Kotelnikov Designed the first RAN Parachute.
Proceedings V. I. Vernadsky The basis of biochemistry, biogeochemistry and radioseology. It was distinguished by the latitude of interests, the formulation of deep scientific problems and the foresight of discoveries in various fields.
Great Russian physiologist I. P. Pavlov Created a doctrine on conditional reflexes in which he gave a materialistic explanation of the highest nervous activity of man and animals. In 1904, research in the field of digestion physiology I. P. Pavlov - the first of the Russian scientists was awarded the Nobel Prize. Four years later (1908) this premium was awarded I. I. Metsnikov For the study of problems of immunology and infectious diseases.
"Milestones."
Shortly after the revolution 1905 -1907. Several well-known publicists (N.A Berdyaev, S. N. Bulgakov, P. B. Struve, and S. Izoev, S. L. Frank, B. And Kistyakovsky, M. O. Gershenzon) released the book "Milestones. Collection of articles about the Russian intelligentsia. "
The authors of "VEKH" believed that the revolution was to end after the publication of Manifesto on October 17, as a result of which the intelligentsia received those political freedoms that always dreamed of. The intelligentsia was accused of ignoring the national and religious interests of Russia, suppressing dissent, in disrespect for the right, inciting in the masses of the darkest instincts. Vekovtsy argued that the Russian intelligentsia is alien to their people who hates it, and will never understand.
A lot of publicists have made against Vekhovtsy, first of all supporters of cadets. Their works published the popular newspaper "New Time".
Literature.
Russian literature includes a lot of names that have discharged world fame. Among them I. A. Bunin, A. I. Kuprin and M. Gorky. Bunin continued traditions and preached the ideals of Russian culture of the XIX century. For a long time, the prose of Bunin was estimated much lower than his poetry. And only the "village" (1910) and "Sukhodol" (1911), one of those whom the social conflict in the village was forced to talk about him as a large writer. Stories and the story of Bunin, such as "Antonovskiy apples", "The Life of Arsenyev," brought him world fame, which was confirmed by the Nobel Prize.
If the prose of Bunin was distinguished by rigor, deposit and commitment of the form, the external impassation of the author, then in the prose of the jurisdiction there was a spontaneity and passionship characteristic of the writer's personnel. Favorite his heroes were people soulfully clean, dreamy and at the same time belligerent and impractical. Often, love in the works of Kupper ends the death of the hero ("Pomegranate bracelet", "duel").
Ohn was the work of Gorky, who entered the story as a "a church revolution." He had a mighty temperature of the wrestler. In his works there were new, revolutionary topics and new, unknown before, literary heroes ("mother", "Thomas Gordeyev", "Artamon Business"). In the early stories ("Makar Miranda") Gorky made a romantic.
New directions in literature and art.
The most important and largest flow in the literature and art of the 90s of the XIX in the first twentieth century. Was symbolism, recognized ideological leader of which was a poet and philosopher V. S. Soloviev. Scientific knowledge of the world
symbolists contrasted the construction of peace in the process of creativity. Symbolists believed that the highest spheres of life could not be recognized by traditional ways, they are only available through the knowledge of the secret meanings of characters. The symbolist poets did not seek to be understood by everyone. In their verses, they referred to the elected readers, making them with their co-authors.
Symbolism contributed to the emergence of new currents, one of which was aqmeism (from Greek . AKME - blooming force). The recognized head of the direction was N. S. Gumilev. Ambamests proclaimed a refund from the multigid images, metaphoricity to the subject world and the exact meaning of the word. Members of the mug of aqmeist A.A.ahmatova, O. Mandelshtam. According to Gumileva, the aquesis should have discovered the value of human life. The world should be accepted in all its diversity. Ambamests used in creativity different cultural traditions.
Futurismalso was a kind of branch of symbolism, but he adopted the most extreme aesthetic form. For the first time, Russian futurism announced itself in 1910, the release of the collection "Sadok judges" (D.D.Burlyuk, V.V.Hlebnikov and V.V. Kamensky). Soon the authors of the collection together with V. Mayakovsky and A. Kounedykh formed a grouping of Cubefuturists. Futurists were street poets - they were supported by radical studentism and lumpen-proletariat. Most of the futurists, in addition to poetry, studying also painting (Brother's brothers, and Cherchey, V. V. Mayakovsky). In turn, Artists-Futurists K.S. Malevich and V. V. Kandinsky wrote poems.
Futurism has become a protest poetry, aspiring to the destruction of existing orders. At the same time, futurists were dreamed of creating art capable of converting peace. Most of all, they were afraid of indifference to them and therefore enjoyed any reason for a public scandal.
Painting.
At the end of the XIX - early twentieth century. Such prominent Russian painters of the second half of the past century continued their creative activity, as V. I. Surikov, Vasnetsov Brothers, I. E. Repin.
At the end of the century, K. A Corovin and M. A Vrubel came to Russian paintings. The landscapes of the Korovina were distinguished by bright paints and romantic ravenness, a feeling of air in the picture. The brightest representative of the symbolism in painting was M.A.Vrubel. His paintings, like a mosaic, are blinded from sparkling pieces. The combination of colors in them had their own semantic values. The plots of Vrubel amazed fantastic.
A significant role in the Russian art of the beginning of the twentieth century. played the movement " World of Art"arising as a peculiar reaction to the movement of the mobile phone. The ideological basis of the works of "Miriskusnikov" was an image of not gross realities of modern life, but the eternal topics of world painting. One of the ideological leaders of the "World of Art" was A. N. Benua, who possessed versatile nappings. He was a painter, a schedule, a theater artist, an art historian.
The activities of the "World of Art" were opposed to the work of young artists grouping in the Bubnov Valet organizations and the Union of Youth. These societies did not have their own program, they had symbolists, futurists, and cubists, but every artist had his own creative face.
Such artists were P. N. Filonov and V. V. Kandinsky.
Philon in their picturesque technique for Futurism. Kandinsky - to the newest art, often portraying only the outlines of objects. It can be called the father of Russian abstract painting.
The pictures of K. S. Petrov, Vodkina, who retained the national traditions of painting in his canvases, but who attached them a special form. These are his canvas "Bathing in Red Horse\u003e, resembling the image of George Victorious, and" Girls on the Volga ", where the connection with Russian realistic painting of the XIX century is clearly traced.
Music.
The largest Russian composers of the beginning of the twentieth century were A.I. Scriabin and S. V. Rakhmaninov, whose creativity, excited, elevated in nature, was especially close to wide public circles during the busy expectation of the revolution 1905-1907 p. At the same time, Scriabin from romantic traditions evolved to symbolism, anticipating many innovative revolutionary era. . Rakhmaninov's music system was more traditional. It clearly shows the connection with the musical heritage of the last century. In his works, the mental state was usually connected with the paintings of the outside world, the poetry of Russian nature or the images of the past.
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Purpose: give students a common idea of \u200b\u200bthe poetry "Silver Century"; determine the basic principles of modernism poetry; reveal the social essence and artistic value of new directions in the art of the late XIX-early XX centuries; improve expressive reading skills; Educating moral ideals, awakening aesthetic experiences and emotions.
Equipment: Textbook, texts of poems, portraits of the poets "Silver Century", Table.
Type of lesson:the lesson is a learning of new knowledge and the formation of skills and skills.
Predicted results:students constitute the abstracts of the teacher's lectures; participate in conversation for the previously studied material; define the basic principles of modernism; expressively read and comment on the poems of the "Silver Century" poets, revealing their artistic peculiarity; Interpretate selected poems.
DURING THE CLASSES
I. Organizational stage
II. Actualization of reference knowledge
Poetic minute
Reading teacher poem B.A. Slutsky.
Walled century
Not machines - motor
called those cars,
easily now with whom -
And then wonderful were.
Aviator Pilot,
Airplane - Airplane,
Even Sveta - photo
called in that century strange
What happened randomly
between twentieth and nineteenth,
nineteen began
And ended in the seventeenth.
- What age does the poet say about? Why does he call for a century of incomplete two decades? What inventions and scientific theories, in addition to those mentioned by B. Slutsk, is this era?
- "Silver Age" ... What thoughts arise in your consciousness when you hear these words? What associations causes the sound of these words?
III. Motivation of educational activities. Message themes and objectives of the lesson.
The word teacher
XX century ... in which images, ideas, authors, literary forms, it imprinted? At the beginning of the twentieth century There is a flourishing of Russian religious philosophical thought. In 1909, a group of philosophers and publicists (P. Struv, N. Berdyaev, S. Bulgakov, S. Franc) released a collection of "Mahi". It includes stabs about the Russian intelligentsia and its choice. The books of the book warned about the defeatibility of the revolutionary path for Russia.
V. Solovyov, N. Berdyaev, S. Bulgakov, V. Rozanov, N.Fadorov had a huge impact on the development of different spheres of culture.
The time of turn of the XIX - XX centuries is called the "silver age" of Russian poetry. This is the period of unprecedented cultural lifting, the heyday of poetry and philosophy, literary and religious sequestos. In poetry there are different directions and schools.
And today at the lesson we will learn about the phenomenon of the "Silver Century", reveal the artistic value of new directions in the art of the late XIX - early XX centuries.
IV. Work on the lesson
1. Lecture of teacher (Students make up theses.)
So, we meet with the whole universe, the new world - the "silver age". There are many new talented poets, many new literary directions. Often called them modernistor decadent.
The word "modern" translated from French means "the newest", "modern". Different currents were presented in Russian modernism: symbolism, acmeism, futurism, etc. Modernists denied social values, opposed realism. Their goal was to create a new poetic culture promoting the spiritual improvement of humanity.
The name "Silver Age" firmly secured over the period of development of Russian art of the end of the XIX - early XX centuries. It was time striking the abundance of the names of artists who opened in the art of truly new ways: A.A. Akhmatova and O.E. Mandelshtam, A.A. Block and V.Ya. Bruisov, D.S. Merezhkovsky and M.Gorky, V.V. Mamakovsky and V.V. Khlebnikov. This list will continue the names of the painters (M.A. Vrubel, M.V. Nesterov, K.A. Korovin, V.A. Serov, K.A. Somov, etc.), composers (A.N. Scriabin, I. F. Stravinsky, S.S. Prokofiev, S.V. Rachmaninov), philosophers (N.A. Berdyaev, V.V. Rozanov, G.P. Fedotov, P.A. Florensky, L.I. Sests).
The generals of the artists and thinkers were the feeling of the beginning of the new era in the development of mankind ... Today, the "silver age" of Russian culture is called a historically short period at the turn of the XIX - XX centuries, marked by an extraordinary creative approach in poetry, humanitarian sciences, painting, music, theater, theater . For the first time, this name was proposed by N. A. Berdyaev. This period is called "Russian Renaissance". The question of the chronological boundaries of this phenomenon in literature is not completely solved. The era influenced the conditions for the existence of culture in general and literature in particular. There are many flows, groups, groups. In parallel, there were different aesthetic directions. Along with realism, modernism was greatly distributed.
Realism remained the most influential literary direction at the turn of the XIX - XX centuries. Writers of this direction continued the traditions of the Great Russian literature of the XIX century. The brightest of them is I. Bunin, A.Kuprin, I.Shelev, B. Zaitsev, V. Series, M. Gorky.
Modernist flows usually include symbolism, akmeism, futurism.
Symbolism is the first and largest of the modernist flows that arose in Russia. The beginning of the theoretical self-determination of the Russian symbolism was found by D. S. Merezhkovsky. The new writing agent was to "huge transitional and preparatory work". The main elements of this work D. S. Merezhkovsky called "mystical content, symbols and expansion of artistic impressionability." The central place in this triade of the concepts was reserved symbol. What is the "symbol"? This is a word-sign, which is always wider than the designated, the sign objective or conditional, through which the poet wants to express the essence of the phenomenon.
From the very beginning of its existence, symbolism turned out to be in an inhomogeneous flow: several independent groups took shape in its departures. By the time of formation and on the peculiarities of the worldview position, it is customary to allocate two main groups of poets in Russian symbolism. Adherents of the first group debuting in the 1890s are called "senior symbols" (V.Ya. Bryusov, K.D. Balmont, D.S. Merezhkovsky, Z.N. Hippius, F.Sologub, etc.). In the 1900s. New forces were joined in symbolism, significantly updated the appearance of the flow (A.A. Block, Andrei White, V.I. Ivanov, etc.). The adopted designation of the "second wave" symbolism is "youngworizer". The "seniors" and "younger" symbolists share not so much age as the difference between the maidos and the direction of creativity (Vyach. Ivanov, for example, older V. Brysov by age, but showed himself as a second-generation symbolist).
Symbolism enriched Russian poetic culture with many discoveries. The symbolists gave the poetic word mobility and multi-consciousness, taught Russian poetry to open additional shades and the verge of meaning in the Word. Symbolism tried to create a new philosophy of culture, sought, having passed the painful period of reassessment of values, to develop a new universal worldview. Overcoming the extremes of individualism and subjectivism, symbolists at the dawn XX century. In a new way, they had a question about the public role of the artist, began to search for such forms of art, the comprehension of which could reiterate people.
In the early 1910s There was a new literary course - axism.It was genetically connected with symbolism. Poets N.Gumilev, S. Rodetsky, O. Madelshtam, A. Aakhmatov united in the group "Platzheh Poets". In his work, they opposed the mystical aspirations of the symbolism "Element of Nature"; Declarated the concrete sensual perception of the "real world", the return of the word of its initial meaning.
Axism, as N.S. Gumilyov, there is an attempt to re-open the value of human life, refusing the "chaste" desire of symbolists to know unrecognizable.
Futurism, as well as symbolism, was an international literary phenomenon (from Lat. futurum- "Future") - the general name of the artistic avant-garde movements of the 1910s - early 1920s., First of all in Italy and Russia.
The time of the birth of Russian futurism is 1910, when he saw the light of the first futuristic collection of "Sadok judges". The most influential poets of this flow were D. Berryuk, V.Hlebnikov, V.Makovsky, A.Krucheny, V.Kamensky.
There were several futuristic groups: ego paturistic(I.Severyanin, I. Rignatev, K. Volmov, etc.); an association "Centrifuge" (B. Pasternak, N.Aseev, K. Bolshakov, etc.).
Futurism as a stream in domestic poetry originated by no means in Russia. This phenomenon is entirely introduced from the West, where it originated and was theoretically justified. Futurists preached the destruction of the forms and conventions of art for the sake of merging it with an accelerated life process of the XX century. They are characterized by a worship before action, movement, speed, force and aggression; exalting itself and contempt for weak; The priority of strength, soaking with war and destruction approved. Futurists wrote manifests, held evenings on which these manifestos were read from the scene and only then published. These evenings were usually ended with hot spores with the public, which were in fights. So the course has received its scandalous and very widely known. Futurist poets (V.V. Mayakovsky, V.V. Khlebnikov, V.V. Kamensky) opposed himself to classical poetry, tried to find new poetic rhythms and images, create a poetry of the future.
2. Checking the level of perception of heard: literary (crossword) dictation