The Silver Age, cultural and historical era, general characteristics. Lesson-presentation "The Silver Age as a Cultural and Historical Era

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Chelyabinsk State Academy of Culture and Arts

Department of History

SILVER AGE OF RUSSIAN CULTURE

Chelyabinsk 2011

Introduction

1 The concept of the "Silver Age"

2 Russian culture at the turn of the century

Chapter 3. Science

2 Humanities

Chapter 4. Philosophy

Chapter 5. Literature

1 Realistic direction

2 Russian modernism

3 Symbolism

4 Acmeism

5 Futurism

Chapter 6. Theater

2 Other theaters in Russia

Chapter 7. Ballet

Chapter 8. Music

Chapter 9. Cinematography

Chapter 10. Painting

Chapter 11. Architecture

Chapter 12. Sculpture

Chapter 13. Patronage

Conclusion

Introduction

The works of the poets of the Silver Age have always attracted my attention. Getting acquainted with the works of the genius creators of this era, I became interested in how art developed in addition to literature at such a difficult, critical moment in history. In order to study this issue in more detail, research work was carried out on the topic "The Silver Age of Russian Culture."

To better understand the art created during the Silver Age, it is necessary to know the historical background of the creation of great works. This is the significance of studying this topic. Based on the analysis of historical literature, one can determine the aspirations of artists of that time. Their work is still relevant. The poetry of the Silver Age touched upon eternal themes that excite modern readers. Elements of the Art Nouveau architectural style find their echoes in modern design. The cinema, so beloved now, was born precisely at the beginning of the 20th century. The discoveries obtained during that period served as the basis for the development of modern sciences. All this suggests that interest in the art of the Silver Age has not yet been lost.

The "Joint of the Ages" turned out to be a favorable basis for the period called the "Silver Age" of Russian culture. The “century” did not last long - about twenty years, but it gave the world wonderful examples of philosophical thought, demonstrated the life and melody of poetry, revived the ancient Russian icon, gave impetus to new directions of painting, music, theatrical art. The Silver Age became the time of the formation of the Russian avant-garde.

The period of "transitional" cultures is always dramatic, and the relationship between the traditional, classical culture of the past - familiar, familiar, but no longer exciting, and the emerging culture of a new type, so new that its manifestations are incomprehensible and sometimes cause a negative reaction ... This is natural: in the minds of the change of types of cultures is quite painful. The complexity of the situation is largely determined by the change in values, ideals of the norms of spiritual culture. The old values have fulfilled their function, have played their roles, there are no new values yet. They only add up, and the stage remains empty.

In Russia, the difficulty lay in the fact that public consciousness was developing under conditions that even more dramatized the situation. Post-reform Russia was transitioning to new forms of economic relations. Traditional ties are breaking, the process of marginalization is engulfing more and more people. The Russian intelligentsia found itself almost helpless in the face of the new demands of political development: a multi-party system was inevitably developing, and real practice was much ahead of theoretical comprehension of the principles of a new political culture. Russian culture as a whole loses one of the fundamental principles of its existence - the feeling of a person's unity with another person and a social group.

In 1894, Emperor Nicholas II ascended the throne, who announced his intention to follow the conservative course of his father, Alexander III, and called on the public to abandon meaningless dreams on the expansion of the rights of local governments and the introduction of any forms of popular representation. The beginning of the XX century. was marked by the rise of the mass workers 'and peasants' movement. The aggravation of socio-political contradictions in Russia was aggravated by this defeat in the Russian-Japanese war. By the end of 1904, the country was on the verge of a revolution.

The old noble Russia was hopelessly dilapidated. The ancient building was about to collapse. Those who are unlucky will die under the rubble, those who are lucky will remain homeless. Many felt this. And this feeling penetrated all aspects of the spiritual life of Russia - from science to religion.

People who retained a simple and clear worldview of the 19th century (primarily socialists, but also extreme conservatives) did not understand this mood, branded it as "decadent" (decadent). But, oddly enough, it was this mood that pushed a new upsurge of Russian culture at the beginning of the century. And one more paradox: in the achievements of culture at the beginning of the XX century. the least contribution was made by precisely those “optimists” who exposed the “decadents”.

The Silver Age occupies a very special place in Russian culture. This controversial time of spiritual searches and wanderings, significantly enriched all types of arts and philosophy and gave rise to a whole galaxy of outstanding creative personalities. On the threshold of the new century, the deep foundations of life began to change, giving rise to the collapse of the old picture of the world. The traditional regulators of existence - religion, morality, law - could not cope with their functions, and the age of modernity was born.

However, it is sometimes said that the Silver Age is a Westernizing phenomenon. Indeed, as his guiding lines, he chose the aestheticism of Oscar Wilde, the individualistic spiritualism of Alfred de Vigny, the pessimism of Schopenhauer, the superman Nietzsche. The Silver Age found its ancestors and allies in various European countries and in different centuries: Villon, Mallarmé, Rimbaud, Novalis, Shelley, Calderon, Ibsen, Maeterlinck, d'Annuzio, Gauthier, Baudelaire, Verharne.

In other words, at the end of the 19th and the beginning of the 20th centuries, there was a reassessment of values from the standpoint of Europeanism. But in the light of the new era, which was the complete opposite of the one that replaced it, national, literary and folklore treasures appeared in a different, brighter than ever, light. Truly, this was the most creative era in Russian history, a canvas of the greatness and impending troubles of holy Russia.

This period in the development of Russian culture is associated with the rise in all spheres of the spiritual life of Russian society: hence the term "spiritual renaissance". The revival of the best traditions of Russian culture in the widest range: from science, philosophical thought, literature, painting, music and ending with the art of theater, architecture, arts and crafts.

How did culture reach such heights in its development at the most critical, most turning point and most terrible moment in the history of Russia? The answer to this question is the goal of the work. Based on the set goal, the research objectives were determined:

.Study the historical literature on this topic

2.Analyze the information received from the point of view of the question posed

.After critically comprehending the material, develop your own view of the problem

.Draw the appropriate conclusions based on the study.

.Answer the question posed at the beginning of the study

Chapter 1. The Silver Age of Russian Culture

1 The concept of the "Silver Age"

The beginning of the XX century. - a turning point not only in the political and socio-economic life of Russia, but also in the spiritual state of society. The industrial era dictated its own conditions and norms of life, destroying the traditional values and perceptions of people. The aggressive onslaught of production led to a violation of the harmony between nature and man, to smoothing out human individuality, to the triumph of standardization of all aspects of life. This gave rise to confusion, an unsettling feeling of impending catastrophe. All the ideas of good and evil, truth and falsehood, beautiful and ugly, suffered by previous generations, seemed now untenable and required an urgent and cardinal revision.

The processes of rethinking the fundamental problems of mankind have affected, to one degree or another, and philosophy, and science, and literature, and art. And although this situation was typical not only for our country, in Russia spiritual searches were more painful, more piercing than in the countries of Western civilization. The flourishing of culture during this period was unprecedented. It embraced all types of creative activity, gave rise to outstanding works of art and scientific discoveries, new directions of creative search, opened a galaxy of brilliant names that have become the pride of not only Russian, but also world culture, science and technology. This socio-cultural phenomenon went down in history as the Silver Age of Russian culture. 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 a reflection of the Russian glory of the previous "golden" eras, but finally this phrase entered the literary circulation in the 60s of the last century.

1.2 Russian culture at the turn of the century

Russian culture Silver Age

Russian culture of the late XIX - early XX centuries is a difficult and contradictory period in the development of Russian society. The culture of the turn of the century always contains elements of a transitional era, including the traditions of the culture of the past and the innovative tendencies of a new emerging culture. There is a transfer of traditions and not just a transfer, but the birth of new ones. All this is connected with the rapid process of searching for new ways of cultural development, and is being corrected by the social development of the given time. The turn of the century in Russia is a period of ripening of major changes: a change in the state system, a change from the classical culture of the 19th century to a new culture of the 20th century. The search for new ways of developing Russian culture is associated with the assimilation of the progressive trends of Western culture. The diversity of directions and schools is a feature of Russian culture at the turn of the century. Western trends are intertwined and complemented by modern ones, filled with specifically Russian content. A peculiarity of the culture of this period is its orientation towards a philosophical understanding of life, the need to build a holistic picture of the world, where art, along with science, is assigned a huge role. The focus of Russian culture at the end of the 19th - beginning of the 20th centuries turned out to be a person who becomes a kind of connecting link in the motley variety of schools and areas of science and art on the one hand, and a kind of starting point for the analysis of all the most diverse cultural artifacts on the other. Hence the powerful philosophical foundation that lies at the foundation of Russian culture at the turn of the century.

Chapter 2. Education and enlightenment

In 1897, the All-Russian Population Census was carried out. According to the census, in Russia the average literacy rate was 21.1%: for men - 29.3%, for women - 13.1%, about 1% of the population had higher and secondary education. In secondary school, in relation to the entire literate population, only 4% studied. At the turn of the century, the education system still included three levels: primary (parish schools, public schools), secondary (classical gymnasiums, real and commercial schools), and higher school (universities, institutes).

In 1905, the Ministry of Public Education submitted a draft law "On the introduction of universal primary education in the Russian Empire" for consideration by the II State Duma, but this draft never received the force of law. But the growing need for specialists contributed to the development of higher, especially technical, education. In 1912, there were 16 higher technical educational institutions in Russia, in addition to private higher educational institutions. Persons of both sexes were admitted to the university, regardless of nationality and political views. Therefore, the number of students increased markedly - from 14 thousand in the mid-90s to 35.3 thousand in 1907. Higher education for women was further developed, and in 1911 the right of women to higher education was legally recognized.

Simultaneously with Sunday schools, new types of cultural and educational institutions for adults began to operate - work courses, educational workers' societies and people's houses - a kind of clubs with a library, an assembly hall, a tea shop and a retail store.

The development of periodicals and book publishing had a great influence on education. In the 1860s, 7 daily newspapers were published and about 300 printing houses operated. In the 1890s, there were 100 newspapers and about 1000 printing houses. And in 1913, 1263 newspapers and magazines were already published, and in the cities there were about 2 thousand bookstores.

In terms of the number of books published, Russia ranked third in the world after Germany and Japan. In 1913, 106.8 million books were published in Russian alone. The largest book publishers A.S. Suvorin in St. Petersburg and I.D.Sytin in Moscow contributed to the introduction of the people to literature, publishing books at affordable prices: Suvorin's "cheap library" and Sytin's "library for self-education".

The enlightenment process was intense and successful, and the number of the reading public grew rapidly. This is evidenced by the fact that at the end of the XIX century. there were about 500 public libraries and about 3 thousand zemstvo folk reading rooms, and already in 1914 there were about 76 thousand different public libraries in Russia.

Chapter 3. Science

1 World contribution of Russian science

century brings significant success in the development of Russian science: it claims to be equal with Western European, and sometimes to superiority. It is impossible not to mention a number of works by Russian scientists that have led to world-class achievements. DI. Mendeleev in 1869 discovered the periodic system of chemical elements. A.G. Stoletov in 1888-1889 establishes the laws of the photoelectric effect. In 1863, the work of I.M. Sechenov "Reflexes of the brain". K.A. Timiryazev founds the Russian school of plant physiology. P.N. Yablochkov creates an electric arc light bulb, A.N. Lodygin is an incandescent light bulb. A.S. Popov invents the radiotelegraph. A.F. Mozhaisky and N.E. Zhukovsky laid the foundations of aviation with his research in the field of aerodynamics, and K.E. Tsiolkovsky is known as the founder of astronautics. P.N. Lebedev is the founder of research in the field of ultrasound. I.I. Mechnikov explores the field of comparative pathology, microbiology and immunology. The foundations of the new sciences - biochemistry, biogeochemistry, radiogeology - were laid by 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 significance of scientific foresight and a number of fundamental scientific problems posed by scientists at the beginning of the century is becoming clear only now.

2 Humanities

The humanities were greatly influenced by the processes taking place in natural science. Humanities scientists like V.O. Klyuchevsky, S.F. Platonov, S.A. Vengerov and others, worked fruitfully in the field of economics, history, literary criticism. Idealism has become widespread in philosophy. Russian religious philosophy, with its search for ways to combine the material and the spiritual, the establishment of a "new" religious consciousness, was perhaps the most important area not only of science, ideological struggle, but of all culture.

The foundations of the religious and philosophical Renaissance, which marked the Silver Age of Russian culture, were laid by V.S. Soloviev. His system is the experience of the synthesis of religion, philosophy and science, and it is not the Christian doctrine that is enriched by him at the expense of philosophy, but on the contrary: he introduces Christian ideas into philosophy and with them enriches and fertilizes philosophical thought. Possessing a brilliant literary talent, he made philosophical problems accessible to wide circles of Russian society, moreover, he brought Russian thought to the universal human space.

Chapter 4. Philosophy

1 In search of a social ideal

Russia's entry into a new era was accompanied by a search for an ideology that could not only explain the changes that were taking place, but also outline the prospects for the country's development. The most popular philosophical theory in Russia at the beginning of the 20th century was Marxism. He won over with his logic, seeming simplicity, and most importantly - universality. In addition, Marxism had fertile ground in Russia in the form of the revolutionary tradition of the Russian intelligentsia and the uniqueness of the Russian national character with its thirst for justice and equality, and a penchant for messianism (belief in the coming of a savior, a messiah).

However, part of the Russian intelligentsia very soon became disillusioned with Marxism, with its unconditional recognition of the primacy of material over spiritual life. And after the revolution of 1905, the revolutionary principle of the reorganization of society was also revised.

2 Russian religious renaissance

The Russian religious revival of the early 20th century is represented by such philosophers and thinkers as N.A. Berdyaev, S.N. Bulgakov, P.B. Struve, S.L. Frank, P.A. Florensky, S.N. and E.N. Trubetskoy. The first four, who are the central figures of God-seeking, have passed a difficult path of spiritual evolution. They started out as Marxists, Materialists and Social Democrats. By the beginning of the 20th century, they made a turn from Marxism and materialism to idealism, significantly limited the possibilities of a 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 of 1905-1907. their evolution has come to an end and they have finally established themselves as religious thinkers. They expressed their new views in the collection "Vekhi" (1909). S. Bulgakov became a priest.

The authors of the collection presented a harsh account of the Russian intelligentsia, accusing it of dogmatism, adherence to obsolete philosophical teachings of the 19th century, ignorance of modern philosophy, nihilism, low legal awareness, divorced from the people, atheism, oblivion and denigration of Russian history, etc. All these negative qualities, in their opinion, led to the fact that it was the Russian intelligentsia that was the main instigator of the revolution, which put the country on the brink of a national catastrophe. The Vekhi people concluded that the ideas of revolutionary transformation were futile in Russia, that social progress in the country is possible only through gradual, evolutionary changes, which must begin with the development of new religious and moral ideals based on Christian teachings. Russian religious philosophers believed that the official Orthodox Church, too connected with the autocratic state, could not assume the role of the savior of Russian souls.

The concept of Russian religious revival was the fruit of understanding the centuries-old history of Russia and the West. In many ways, it became a continuation and development of Slavophilism. Therefore, it can be defined as the new Slavophilism. It was also the development of the ideas and views of N.V. Gogol, F.M. Dostoevsky, L.N. Tolstoy and V.S. Soloviev.

NV Gogol influenced the representatives of God-seeking primarily with his book Selected Passages from Correspondence with Friends, where he reflects on the historical fate of Russia and calls for Christian self-deepening and self-improvement. As for F.M. Dostoevsky, his life itself was an instructive example for supporters of religious revival. Passion for the revolution had tragic consequences for the writer, so he devoted his work to the search for Christian ways to human unity and brotherhood. In this he saw the peculiarity of the Russian way.

Many ideas and especially the doctrine of non-violence by Leo Tolstoy were also consonant with the views of representatives of the religious renaissance. The teachings of Vl. Solovyov about total unity, about Sophia - the World Soul and Eternal Femininity, about the final victory of unity and goodness over enmity and disintegration constitute the common spiritual basis of Russian religious revival and Russian modernism - especially symbolism. It was Vl. Soloviev developed the concept of the revival of Russia on Christian foundations. He devoted his life to tireless struggle against the hostile attitude of the intelligentsia to the Church, to bridge the gap between them, and called for mutual reconciliation.

Developing the ideas of their predecessors, representatives of the religious revival are very critical of the Western path of development. In their opinion, the West gives a clear preference for civilization to the detriment of culture. He focused his efforts on the external arrangement of life, on the creation of railways and communications, comfort and amenities. At the same time, the inner world, the human soul were in oblivion and desolation. Hence the triumph of atheism, rationalism and utilitarianism. It was these sides, as the representatives of God-seeking note, that were adopted by the Russian revolutionary intelligentsia. In her struggle for the welfare and happiness of the people, their liberation, she chose radical means: revolution, violence, destruction and terror.

Supporters of the religious renaissance saw in the revolution of 1905-1907. a serious threat to the future of Russia, they perceived it as the beginning of a national catastrophe. Therefore, they appealed to the radical intelligentsia with an appeal to renounce revolution and violence as a means of fighting for social justice, to abandon Western atheistic socialism and irreligious anarchism, to recognize the need to establish the religious and philosophical foundations of the worldview, to agree to reconciliation with the renewed Orthodox Church.

They saw the salvation of Russia in the restoration of Christianity as the foundation of all culture, in the revival and confirmation of the ideals and values of religious humanism. The way to solving the problems of public life for them lay through personal self-improvement and personal responsibility. Therefore, they considered the development of a doctrine of personality to be their main task. Representatives of God-seeking considered holiness, beauty, truth and goodness as eternal ideals and values of man, understanding them in a religious and philosophical sense. The highest and absolute value was God.

For all its attractiveness, the concept of religious revival was not flawless or invulnerable. Rightly reproaching the revolutionary intelligentsia for its inclination towards external, material conditions of life, the representatives of God-seeking went to the other extreme, proclaiming the absolute primacy of the spiritual principle.

Forgetting material interests made the path of a person to his happiness no less problematic and utopian. With regard to Russia, the question of the socio-economic conditions of life was extremely acute. Meanwhile, the locomotive of history of the Western type has long been on the territory of Russia. Gathering speed, he rushed across its vast expanses. To stop it or change its direction, it took enormous efforts and significant changes in the structure of society.

The call to renounce the revolution and violence needed support, in a counter movement on the part of the official authorities and the ruling elite. Unfortunately, all the steps taken in this respect did not fully meet the historical requirements. The authorities did not feel the urgent need for change, showed unshakable conservatism, and wanted to preserve the Middle Ages at any cost.

In particular, Tsar Nicholas II, being a highly educated person who knew five foreign languages, possessed a delicate aesthetic taste, was at the same time a completely medieval person in his views. He was deeply and sincerely convinced that the existing social structure in Russia is the best and does not need any serious renovation. Hence the half-heartedness and inconsistency in the implementation of reforms. Hence the mistrust of such reformers as S.Yu. Witte and P.A. Stolypin. The royal family focused its main attention on the health problem of the heir, for the solution of which she surrounded herself with very dubious personalities like G. Rasputin. The outbreak of the First World War further exacerbated the situation.

In general, we can say that extreme radicalism to a certain extent was generated by extreme conservatism. At the same time, the social base of opposition to the existing state of affairs was very broad. The revolutionary option for resolving urgent problems and contradictions was shared not only by radical movements, but also by more moderate ones. Therefore, the appeal of the supporters of religious revival to embark on the Christian path of solving acute life issues did not find the desired support.

The publication of the collection "Vekhi" aroused great interest. In just one year, it went through five editions. During this time, more than 200 responses have appeared in the press, and five collections devoted to the discussion of the Vekh problem have been published. However, the overwhelming majority of the reviews were negative. The new seekers of God were opposed not only by the revolutionaries and the left opposition, but also by many of the right, including the liberals. In particular, the leader of the Cadet Party P.N. Milyukov toured the country with lectures, in which he sharply criticized God-seekers, calling them reactionary.

It should be noted that even in church-Orthodox circles, there was no real and fairly wide counter movement. The Holy Synod first supported the years 1901-1903. religious and philosophical meetings, and then banned them. The Church was rather wary of many new ideas of the participants in the religious revival, doubted their sincerity, and considered criticism addressed to itself undeserved and painful.

During the meetings, a complete difference in the views of representatives of the secular and ecclesiastical world was often revealed, and some of the participants in the meetings only reassured themselves of their mutual negative assessments. Thus, the reaction of contemporaries showed that the spokesmen for the religious and philosophical revival were far ahead of their time. However, their undertakings and appeals were not in vain. They contributed to the revitalization of spiritual life, strengthening the interest of the intelligentsia in the Church and Christianity.

Chapter 5. Literature

1 Realistic direction

Realistic trend in Russian literature at the turn of the XIX-XX centuries. continued L.N. Tolstoy, A.P. Chekhov, who created his best works, the theme of which was the ideological quest of the intelligentsia and the "little" man with his daily concerns, and the young writers I.A. Bunin and A.I. Kuprin.

In connection with the spread of neo-romanticism, new artistic qualities appeared in realism, reflecting reality. The best realistic works of A.M. Gorky reflected the broad picture of Russian life at the turn of the 20th century with its inherent uniqueness of economic development and ideological and social struggle.

The beginning of the revolutionary upsurge was marked by the desire to institutionalize the unity of realist writers. Created in Moscow in 1899 by N. Teleshov, the literary community "Wednesday" became one of the centers of such a rallying. Bunin, Serafimovich, Veresaev, Gorky, Andreev became members of the commonwealth. Sreda's meetings were attended by Chekhov, Korolenko, Mamin - Sibiryak, Chaliapin, Levitan, Vasnetsov.

It is very important that in the culture of the beginning of the century the philosophical and ethical problem is extremely acute: what does a person need - a sweet lie or a harsh truth? It has long worried various thinkers and artists, and was actively discussed in the last century. This theme sounds in Gorky's drama At the Bottom and forms a certain moral ideal of the time. The meaning of such an ideal is to find God in oneself, the inner self-improvement of the individual. The search for a new value reference point in the system of behavior, the priority of the personal principle, runs like a red thread through "Resurrection" by L. Tolstoy and "Duel" by A. Kuprin.

At the beginning of the century, L. Andreev occupies a special place in the system of artistic culture. His philosophical criticism, turning from a criticism of the social situation into a criticism of life as a whole, is saturated with a kind of "cosmic pessimism." The growing notes of disbelief, despair and the associated emergence in his work of elements of expressionism (fr. Expression - expression, expressiveness) make L. Andreev related to the writers of Russian modernism (fr. Modern - modern).

2 Russian modernism

Russian modernism became an important spiritual phenomenon of the Silver Age. It forms part of the spiritual renaissance and embodies the Russian artistic revival. Like the religious renaissance, modernism has set itself the task of reviving the intrinsic value and self-sufficiency of art, freeing it from a social, political or any other official role. He spoke out at the same time against utilitarianism in the approach to art and against academism, believing that in the first case art dissolves in some extra-artistic and extra-aesthetic useful function: it should enlighten, educate, teach, inspire great deeds and actions, and thus justify their existence; in the second case, it ceases to be alive, loses its inner meaning.

From the point of view of modernism, art must move away from these two specified extremes. It should be art for art, "pure" art! Its purpose is to solve its internal problems, in the search for new forms, new techniques and means of expression. His competence includes the inner spiritual world of a person, the sphere of feelings and passions, intimate experiences, etc.

Russian modernism differs markedly from the religious renaissance. If the latter gravitated towards Slavophilism, was preoccupied with the search and preservation of Russian originality, the former embraced the Europeanized part of the Russian intelligentsia. This is especially true of Russian symbolism, which arose under the direct influence of Western symbolism! Like Western, Russian modernism is marked by decadence, decadence. Many of its representatives were fond of mysticism, magic, occultism, fashionable religious sects. On the whole, Russian modernism is a complex, heterogeneous and contradictory phenomenon.

Russian modernism is a natural phenomenon caused by the deep processes of Russian culture. The questions of the further development of Russian literature were ripe, fundamentally concentrated on three problems: the attitude to the traditions of Russian literature, the definition of the novelty of the content and form, the definition of the general aesthetic worldview. There was a need to find guidelines for the development of literature.

3 Symbolism

Russian literature of the early XX century. gave birth to wonderful poetry and the most significant direction was symbolism. Russian symbolism arose at the turn of the 80s - 90s. XIX century and realized himself as a leading ideological - artistic and religious - philosophical trend. It absorbed all the cultural achievements of the turn of the century, and therefore largely determined the largest philosophical, artistic and also indirectly scientific and socio-political achievements of the Silver Age, including the artistic avant-garde, Russian religious philosophy, for example, Russian cosmism. Symbolism in Russia claimed to fulfill universal, ideological functions in the social and cultural life of Russia (in contrast to French, German or Scandinavian symbolism, which remained literary and artistic phenomena).

The idea of a synthesis of art, philosophy, the creation of a holistic style - became the apotheosis of Russian symbolism. It was this quality that distinguished him from other national types of symbolism. Unlike Western European symbolism, which evolved in the 1920s into expressionism, surrealism, etc., Russian symbolism formed the basis for post-symbolic phenomena of Russian culture, such as avant-garde, acmeism, turned into neoclassicism and futurism, which became one of the most important currents of revolutionary culture in aggregates with typologically similar phenomena - imagism and constructivism.

For the Symbolists, who believed in the existence of another world, the symbol was his sign, and represented the connection between the two worlds. One of the ideologues of symbolism D.S. Merezhkovsky, whose novels are imbued with religious and mystical ideas, considered the predominance of realism to be the main reason for the decline of literature, and proclaimed symbols, mystical content, as the basis of new art. Russian symbolism asserted itself persistently and, in the opinion of many critics, suddenly. In 1892, the Severny Vestnik magazine published an article by Dmitry Merezhkovsky "On the causes of decline and the latest trend in modern Russian literature", and for a long time it was considered a manifesto of Russian Symbolists. In realism, this artistic materialism, Merezhkovsky sees the cause of the decline of modern literature.

The features of the originality of Russian Symbolism manifested themselves most of all in the work of the so-called "younger Symbolists" of the early 20th century - A. Blok, A. Bely, Vyach. Ivanova. It is in their work that the artistic method of the Symbolists receives an objectively idealistic interpretation. The material world is only a mask through which the other world of the spirit shines through. Images of a mask, a masquerade are constantly flickering in the poetry and prose of the Symbolists. The material world is portrayed as something chaotic, illusory, as a lower reality in comparison with the world of ideas and essences.

Russian symbolism adopted a number of aesthetic and philosophical attitudes from the West, refracting them through the teachings of Vl. Solovyov "about the soul of the world" (13, p. 245). Russian poets with excruciating tension experienced the problem of personality and history in their "mysterious connection" with eternity, with the essence of the universal "world process." The inner world of the individual for them is an indicator of the general tragic state of the world, including the "terrible world" of Russian reality, doomed to destruction, a resonator of natural historical elements, a repository of prophetic forebodings of an imminent renewal.

Symbolism is a kind of magic key with which you can open the world and transform it. The whole history of symbolism, as V. Khodasevich wrote, represented: “a series of attempts to find a fusion of life and creativity, a kind of philosophical stone of art” (14, p. 132). Hence the syncretism of the culture of the Silver Age as a kind of dominant principle on which all figures of culture of the Silver Age based their activities: philosophers, artists, poets, writers, musicians, architects, theater workers.

The Silver Age strives for a new organicity - hence its unlimited desire for magical art, a kind of sacredness that purifies and transforms reality. These maxims about art in a very peculiar way merged into judgments about politics: “Only then will political freedom be realized,” Vyach believes. Ivanov, - when the choral voice of such communities will be a true referendum of the will of the people ”(9, p. 39).

The symbolic beginning was the main defining content of the world and even more real than its concrete manifestation in social reality. In certain specific artistic, moral, political, religious and other forms. Hence the confession of Vyacheslav Ivanov's motto: movement, striving, breakthrough - “from the real to the more real” (9, p. 9).

For Russian symbolism, the phenomenon of theurgy was characteristic - the creative realization of the divine principle by man, or assimilation of himself to God the Creator. Therefore, the creative orientation and realization of the personality (in any field of activity - philosophy, art, science, etc.) come to the fore, hence the most important feature of Russian symbolism - not the knowledge of the world, but its transformation, not contemplation, but "life-building" ...

The concept of art expands to human activity in general, including everything: non-canonical religion, revolution, love, "clever joy" of the people, etc. Symbolism in this case was largely based on Dostoevsky's position "beauty will save the world", which was taken by Vl. Solovyov as a metaphysical basis for his concept of all-unity. It is the philosophy of total unity of Vl. Solovyov and his poetry became the foundation of Russian symbolism.

The Symbolists offered the reader a colorful myth about the world created according to the laws of eternal Beauty. If we add to this exquisite imagery, musicality and lightness of the syllable, the steady popularity of the poetry of this direction becomes clear. The influence of Symbolism with its intense spiritual quest, captivating artistry of creative manner was experienced not only by the Acmeists and Futurists who replaced the Symbolists, but also by the realist writer A.P. Chekhov.

4 Acmeism

“Symbolism has completed its circle of development” it was replaced by acmeism (5, p. 153). Acmeism (from the Greek akme - the highest degree of something, blossoming power). It arose as a poetic association "Poets' Workshop" (1911), opposing itself to Symbolism, the center of which was the "Academy of Poetry". Supporters of acmeism rejected the vagueness and hints, ambiguity and immensity, the abstraction and abstractness of symbolism. They rehabilitated a simple and clear perception of life, restored the value of harmony, form and composition in poetry. We can say that the Acmeists lowered poetry from heaven to earth, returned it to the natural, earthly world. At the same time, they retained the high spirituality of poetry, the desire for true artistry, deep meaning and aesthetic perfection. N. Gumilev made the greatest contribution to the development of the theory of acmeism. He defines it as a new poetry, replacing symbolism, which does not aim to penetrate the beyond worlds and comprehend the unknowable. She prefers to do things more accessible to understanding. However, this does not mean reducing it to any practical goals. Gumilev brings poetry and religion closer together, believing that both of them require spiritual work from a person. They play a major role in the spiritual transformation of a person into a higher type.

Acmeism is characterized by a rejection of moral and spiritual searches, a tendency towards aestheticism. A. Blok, with his inherent heightened sense of civic consciousness, noted the main drawback of acmeism: “... they do not have and do not want to have a shadow of an idea about Russian life and the life of the world in general” (3, p. 592). However, not all of their postulates acmeists embodied in practice, this is evidenced by the psychologism of the first collections of A. Akhmatova, the lyricism of the early 0. Mandelstam. In essence, the Acmeists were not so much an organized movement with a common theoretical platform, but a group of talented and very different poets who were united by personal friendship.

5 Futurism

At the same time, another modernist movement arose - futurism, which split into several groups: "Association of ego-futurists", "Mezzanine of poetry", "Centrifuge", "Gilea", whose members called themselves cubo-futurists, Bulyans, i.e. people from the future.

Of all the groups that at the beginning of the century proclaimed the thesis: "art is play", the futurists most consistently embodied it in their work. In contrast to the Symbolists with their idea of "life-building", i.e. transforming the world with art, the futurists focused on the destruction of the old world. Common for the futurists was a denial of traditions in culture, a passion for form creation. The demand of the Cubo-Futurists in 1912 "to throw Pushkin, Dostoevsky, Tolstoy from the steamer of our time" (12, p. 347) received scandalous fame.

The groupings of acmeists and futurists that arose in polemics with symbolism, in practice, turned out to be very close to him both because their theories were based on an individualistic idea, and the desire to create vivid myths, and a predominant attention to form.

There were bright individuals in the poetry of that time, which cannot be attributed to a specific trend - M. Voloshin, M. Tsvetaeva. No other era has given such an abundance of declarations of its own exclusivity.

Peasant poets like N. Klyuev took a special place in the literature of the turn of the century. Without putting forward a clear aesthetic program, they embodied their ideas (the combination of religious and mystical motives with the problem of protecting the traditions of peasant culture) in their work. S. Yesenin was close to peasant poets at the beginning of his journey, combining the traditions of folklore and classical art in his work.

Chapter 6. Theater

1 Moscow Art Theater

The Silver Age is not only the rise of poetry, it is also the era of artistic discoveries in theatrical art. At the end of the XIX century. the stage art was going through a crisis, which manifested itself in the fact that the repertoire of theaters was for the most part entertaining, it did not touch upon the pressing problems of life, the actors' play was not distinguished by a wealth of techniques. Deep changes were needed in the theater, and they became possible with the appearance of the plays by A.P. Chekhov and M. Gorky. In 1898 the Moscow Art Theater was opened (since 1903 the Moscow Art Theater), the founders of which were the manufacturer S. T. Morozov, K.S. Stanislavsky and V.I. Nemirovich-Danchenko, innovators of theatrical art. To rebuild the entire life of the Russian theater, to remove all the bureaucracy, to captivate all artistic forces with a common interest - this is how the tasks of the new theater were defined.

The founders of the Moscow Art Theater set themselves three main goals. First, to attract into the hall a spectator from the common people who could not afford tickets to the imperial theaters. Secondly, to refresh the repertoire, expelling tabloid melodrama and empty comedy from it. Third, to reform the theater business. At first, the new theater had a hard time. The proceeds from the performances did not cover the expenses. Savva Morozov came to the rescue, having invested half a million rubles in the theater in five years. Thanks to him, a new building was built in Kamergersky Lane.

Stanislavsky and Nemirovich-Danchenko, using the domestic and world experience of theater, approved a new type of art that meets the spirit of the times. The theater's repertoire was dominated by the plays of A.P. Chekhov (The Seagull, Uncle Vanya, Three Sisters), then M. Gorky (The Bourgeoisie, At the Bottom). The best performances were “Woe from Wit” by A.S. Griboyedov, "A Month in the Country" by I.S. Turgenev, "The Blue Bird" by M. Maeterlinck, "Hamlet" by W. Shakespeare. This repertoire required talented performers. K. Stanislavsky developed a system of acting and directing, opposing amateurishness, seeking the education of a citizen-actor, whose play would lead to the creation of an organic process according to the well-thought-out logic of the character of the stage hero, the actor should become the leading figure in the theater. The art theater very soon became the leading, advanced theater in Russia, which was primarily due to its democratic nature.

2 Other theaters in Russia

In 1904, the theater of V.F. Komissarzhevskaya, whose repertoire reflected the aspirations of the democratic intelligentsia. The directorial work of E.B. Vakhtangov was marked by the search for new forms, his performances in 1911-12. are of a joyful, entertaining character. In 1915 Vakhtangov created the 3rd studio of the Moscow Art Theater, which later became the theater named after him (1926). One of the reformers of the Russian theater, the founder of the Moscow Chamber Theater A.Ya. Tairov strove to create a "synthetic theater" of a predominantly romantic and tragic repertoire, to the formation of actors of virtuoso skill.

Chapter 7. Ballet

New trends have also affected the ballet scene. They are associated with the name of the choreographer M.M. Fokine (1880-1942). One of the founders of the "World of Art" association S.L. Diaghilev organized Russian Seasons in Paris - performances of Russian ballet dancers in 1909-1911. The troupe included M.M. Fokin, A.L. Pavlova, D.F. Nezhinsky, T.P. Karsavin, E.B. Geltser, M. Mordkin and others. Fokin was a choreographer and artistic director. The performances were designed by famous artists: A. Benois, L. Bakst, A. Golovin, N. Roerich. The performances “Sylphides” (music by F. Chopin), Polovtsian dances from the opera “Prince Igor” by Borodin, “Firebird” and “Petrushka” (music by I. Stravinsky), etc. were shown. The performances were a triumph for Russian choreographic art. The artists have proved that classical ballet can be modern, excite the viewer if the dance carries a semantic load with the appropriate dance means, organically combines with music and painting. Fokine's best productions were Petrushka, The Firebird, Scheherazade, The Dying Swan, in which music, painting and choreography were united.

Chapter 8. Music

The beginning of the twentieth century. - this is the time of the creative take-off of the great Russian composers and innovators A. Scriabin, I. Stravinsky, S. Taneyev, S. Rachmaninov. In their work, they tried to go beyond traditional classical music, to create new musical forms and images. The musical performing culture also flourished. The Russian vocal school was represented by the names of outstanding singers - F. Chaliapin, A. Nezhdanova, L. Sobinov, I. Ershov.

Chapter 9. Cinematography

The beginning of the XX century. - this is the time of the emergence of a new type of art - cinematography. Since 1903, the first "electrotheatres" and "illusions" began to appear in Russia, and by 1914 about 4 thousand cinemas were built.

In 1908 the first Russian fiction film "Stenka Razin and the Princess" was shot, and in 1911 - the first full-length film "Defense of Sevastopol". Cinematography developed rapidly and became popular. In 1914, there were about 30 domestic film companies in Russia. And although the bulk of the film production was made up of films with primitive melodramatic plots, world-famous cinema figures appeared in Russia: director Y. Protazanov, actors I. Mozzhukhin, V. Kholodnaya, V. Maksimov, A. Koonen, etc.

The undoubted merit of cinematography was its availability for all segments of the population. Russian films, created mainly as screen adaptations of classical works, became the first swallow in the formation of mass culture, an indispensable attribute of bourgeois society.

Chapter 10. Painting

1 Association "World of Art"

In 1898 Diaghilev organized an exhibition of Russian and Finnish artists in St. Petersburg. In fact, this was the first exhibition of artists of the new trend. This was followed by other vernissages and, finally, in 1906 - an exhibition in Paris "Two centuries of Russian painting and sculpture." The "cultural breakthrough" of Russia in Western Europe was due to the efforts and enthusiasm of Diaghilev and his friends. In 1898, the Benoit-Diaghilev circle began to publish the magazine World of Art. Diaghilev's policy article stated that the goal of art is the self-expression of the creator. Art, Diaghilev wrote, should not be used to illustrate any social doctrine. If it is genuine, it is itself a truth of life, an artistic generalization, and sometimes a revelation.

The name "World of Art" from the magazine passed to a creative association of artists, the backbone of which was the same circle. Such masters as V. A. Serov, M. A. Vrubel, M. V. Nesterov, I. I. Levitan, N. K. Roerich joined the association. They all looked a little like each other, worked in a different creative manner. And yet there was a lot in common in their work, moods and views.

"Miriskusniki" were worried about the coming of the industrial era, when huge cities grew, built up with faceless factory buildings and inhabited by lonely people. They were worried that art, designed to bring harmony and pacification into life, was more and more squeezed out of it and became the property of a small circle of “chosen ones”. They hoped that art, returning to life, would gradually soften, spiritualize and unite people. "Miriskusniki" believed that in pre-industrial times, people were in closer contact with art and nature. The 18th century seemed especially attractive to them. But they still understood that the age of Voltaire and Catherine was not as harmonious as it seemed to them, and therefore a unit of Versailles and Tsarskoye Selo landscapes with kings, empresses, gentlemen and ladies is wrapped in a light haze of sadness and self-irony.

The revival of book graphics and book art is associated with the creativity of the "world of art". Not limiting themselves to illustrations, the artists introduced bookmarks, intricate vignettes and Art Nouveau endings into books. The understanding came that the design of the book should be closely related to its content. The graphic designer began to pay attention to details such as book format, paper color, font, bleed. Many outstanding masters of that time were engaged in book design. Pushkin's "The Bronze Horseman" was firmly connected with Benoit's drawings, and Tolstoy's "Hadji Murad" - with illustrations by Lanceray. The beginning of the XX century. deposited on library shelves with many high-class examples of book art.

Artists of the World of Art have paid a generous tribute to music. The decorations of the artists of that time - sometimes exquisitely refined, then blazing like fire - combined with music, dance, singing, created a dazzlingly luxurious spectacle. L. Bakst made a significant contribution to the success of the ballet Scheherazade (to the music of Rimsky-Korsakov). The ballet The Firebird (to music by IF Stravinsky) was just as brightly and festively designed by A. Ya. Golovin. Scenery by N.K. Roerich to the opera "Prince Igor", on the contrary, are very restrained and stern. The ballet "Petrushka", which has bypassed the theater stages of many countries, was a joint work of the composer Igor Stravinsky and the artist Alexander Benois. In the field of theatrical painting, the World of Artists came closest to fulfilling their cherished dream - to combine different types of art into one work.

The fate of the World of Art association turned out to be difficult. The magazine ceased to be published after 1904. By this time, many artists had moved away from the association, and it was reduced to the size of the original circle. The creative and personal ties of its members have continued for many years. The "World of Art" has become an artistic symbol of the border of two centuries. A whole stage in the development of Russian painting is associated with it. M. A. Vrubel, M. V. Nesterov and N. K. Roerich occupied a special place in the association.

2 Symbolism in Russian painting

In 1907, an exhibition entitled "Blue Rose" was opened in Moscow, in which A. Arapov, N. Krymov, P. Kuznetsov, N. Sapunov, M. Saryan and others took part, a total of 16 artists. They were looking for youth, dissatisfied with the state of art, familiar with the achievements of Western artists and striving to find their individuality in the synthesis of Western experience and national traditions.

Representatives of the "Blue Rose" were closely associated with the symbolist poets, whose performance was an indispensable attribute of the opening days. But symbolism in Russian painting has never been a single stylistic trend. It included, for example, such artists different in their pictorial systems as M. Vrubel, K. Petrov-Vodkin and others.

3 Avant-garde art direction

At the same time, groups representing the avant-garde trend in art appeared in Russian painting. In 1910, an exhibition entitled "Jack of Diamonds" was organized in Moscow, and in 1911 its participants united into a society with the same name. It existed until 1917. Among the activists of the "Jack of Diamonds" were P. Konchalovsky, I. Mashkov, A. Lentulov, R. Falk, V. Rozhdestvensky, etc. In their work, they sought to finally free painting from the influence of social and political life, literary and other subordination, to return to her the ability to use in full force the means inherent only to her - color, line, plastic. They saw beauty in the very surface of the canvas, covered with a layer of paint, in a unique mixture of colors. The most popular genre of Jacks of Diamonds was still life.

A number of the largest Russian artists - V. Kandinsky, M. Chagall, P. Filonov and others - entered the history of world culture as representatives of unique styles that combined avant-garde tendencies with Russian national traditions.

Chapter 11. Architecture

At the turn of the 19th and 20th centuries, a modernist movement arose in the architecture of a number of European countries. The "crisis of science" at the beginning of the century, the rejection of mechanistic ideas about the world gave rise to the artists' attraction to nature, the desire to imbue its spirit, to reflect in art its changeable element.

The architecture of the "Art Nouveau" era was distinguished by asymmetry and mobility of forms, free flow of "continuous surface", overflow of internal spaces. The ornament was dominated by floral motifs and flowing lines. The desire to convey growth, development, movement was characteristic of all types of art in the Art Nouveau style - in architecture, painting, graphics, painting houses, casting gratings, on book covers. "Modern" was very heterogeneous and contradictory. On the one hand, he strove to assimilate and creatively rework the folk principles, to create the architecture not of an ostentatious nationality, as in the period of eclecticism, but genuine.

Setting the task even more broadly, the masters of the Art Nouveau era ensured that the objects of everyday use bore the imprint of folk traditions. In this respect, much was done by the circle of artists who worked in Abramtsevo, the estate of the patron S. I. Mamontov. V.M. Vasnetsov, M.A.Vrubel, V.D. Polenov worked here. The business started in Abramtsevo was continued in Talashkino near Smolensk, the estate of Princess M.A.Tenisheva. Both in Abramtsevo and in Talashkino there were workshops that produced furniture and household utensils according to samples made by artists. Modern theorists contrasted living folk craft with faceless industrial production. But, on the other hand, the architecture of "modern" made extensive use of the achievements of modern construction technology. A careful study of the possibilities of materials such as reinforced concrete, glass, steel led to unexpected discoveries. Convex glass, curved window sashes, fluid forms of metal bars - all this came to architecture from "modern".

From the very beginning, two directions emerged in the domestic "modern" - the all-European and the national-Russian. The latter was, perhaps, predominant. At its origins is the church in Abramtsevo - an original and poetic creation of two artists who acted as architects - Vasnetsov and Polenov. Taking as an example the ancient Novgorod-Pskov architecture, with its picturesque asymmetry, they did not copy individual details, but embodied the very spirit of Russian architecture in its modern material.

The early "modern" was characterized by a "Dionysian" beginning, i.e. striving for spontaneity, immersion in the stream of formation, development. In the late "modern" (on the eve of the World War), a calm and clear "Apollonian" beginning began to prevail. Elements of classicism returned to architecture. The Museum of Fine Arts and the Borodinsky Bridge were built in Moscow by the project of the architect R. I. Klein. At the same time, the buildings of the Azov-Don and Russian commercial and industrial banks appeared in St. Petersburg. Petersburg banks were built in a monumental style, using granite cladding and "torn" masonry surfaces. This, as it were, personified their conservatism, reliability, stability.

The century of "modern" was very short - from the end of the XIX century. before the outbreak of world war. But it was a very bright period in the history of architecture. At the beginning of the century, his appearance was met with a flurry of criticism. Some considered it "decadent" style, others - bourgeois. But "modern" has proved its vitality and democracy. It had national roots, relied on an advanced industrial base and absorbed the achievements of world architecture. "Modern" did not possess the severity of classicism. It split into many directions and schools, which formed the multicolored palette of the last flowering of architecture on the eve of the great upheavals of the 20th century.

For a decade and a half, coinciding with the construction boom, "modern" has spread throughout Russia. It can still be found in any old city today. One has only to take a closer look at the rounded windows, exquisite stucco molding and curved balcony bars of any mansion, hotel or store.

Chapter 12. Sculpture

Sculpture experienced a creative upsurge during this period. Her awakening was largely due to the trends of impressionism. P.P. Trubetskoy achieved significant success on this path of renewal. His sculptural portraits of L.N. Tolstoy, S. Yu. Witte, F.I. An important milestone in the history of Russian monumental sculpture was the monument to Alexander III, conceived as a kind of antipode to another great monument - "The Bronze Horseman" by E. Falcone.

The work of A.S. Golubkina is characterized by the combination of the tendencies of impressionism and modernity. At the same time, the main feature of her works is not a reflection of a specific image or life fact, but the creation of a generalized phenomenon: "Old age" (1898), "Walking man" (1903), "Soldier" (1907), "Sleepers" (1912), etc. ...

S.T. Konenkov left a significant mark in the Russian art of the Silver Age. His work became the embodiment of the continuity of the traditions of realism in new directions. He went through Michelangelo's passion for "Samson Breaking the Chains", Antiquity "Nika", Russian folk wooden sculpture "Lesovik", "Beggar Brothers", the Wandering Traditions "Stone Fighter", the traditional realistic portrait of "A.P. Chekhov". And with all this, he remained a master of a bright creative individuality.

On the whole, the Russian school of sculpture was little affected by avant-garde trends, did not develop such a complex range of innovative aspirations characteristic of painting.

Chapter 13. Patronage

Against the rich background of Russian patronage, the period of the late XIX-early XX centuries. can justly be called its "golden age", sometimes its true heyday. And this time was associated mainly with the activities of eminent merchant dynasties, who gave hereditary benefactors. Only in Moscow did they carry out such major undertakings in the field of culture, education, medicine, and various fields of science that it can be argued with good reason that this was a qualitatively new stage in charity.

Merchant P.M. Tretyakov (1838-1898), a collector of works of Russian painting, in 1892 donated his collection to Moscow (Tretyakov Gallery), his brother S.M. Tretyakov also bequeathed his collection of Western European painting to Moscow. In the phenomenon of P.M. Tretyakov is impressed by his loyalty to the goal. Such an idea - to lay the foundation for a public, accessible repository of art by all - did not occur to any of the contemporaries, although private collectors existed before Tretyakov, but they acquired paintings, sculpture, dishes, crystal, etc. first of all, for themselves, for their private collections, and few people could see the works of art belonging to collectors. It is also striking that he did not have any special art education, nevertheless, he recognized talented artists earlier than others. Earlier than many, he realized the invaluable artistic merits of the icon-painting masterpieces of Ancient Russia.

S. D. Mamontov (1841-1918) founded the Private Russian Opera in Moscow, supported Russian painters; his estate Abramtsevo was an important center of artistic life; I.E. Repin, M.A. Vrubel, K.A. Koroviy and others. The Mamontov art circle was a unique association. It can be said quite definitely that if all the achievements of Mamontov's Private Opera were limited only by the fact that it formed Chaliapin - the genius of the opera stage, then this would be quite enough for the highest assessment of the activities of Mamontov and his theater.

The patron of the Moscow Art Theater was industrialist S.T. Morozov (1862-1905).

A. A. Bakhrushin (1865-1929), on the basis of his collection, created a private literary and theater museum, now the Theater Museum. Bakhrushin.

M.Kl. Tenisheva (1867-1929) was an outstanding person, the owner of encyclopedic knowledge in art, an honorary member of the first union of artists in Russia. The scale of her social activities, in which enlightenment was the leading beginning, is striking: she created the School of Crafts Students (near Bryansk), opened several elementary public schools, organized drawing schools with Repin, opened courses for training teachers, and even created a real one in the Smolensk region. analogue of Abramtsev near Moscow - Talashkino. Roerich called Tenisheva “the creator and collector” (11, p. 344).

In order to open your talent to the world, you need not only talent, but often money. In this matter, patrons of art rendered invaluable assistance to Russian culture. We owe all the riches that our museums own, the very progressive movement of museum work in Russia, searches, discoveries, we owe them - enthusiasts, collectors, patrons. Each collector was devoted to his circle of hobbies, collected the testimonies of bygone times that he liked, the works of artists, as best he could, systematized them, sometimes researched and published. But the consequences of this spontaneous activity turned out to be grandiose in the end: after all, all the collections of museums in pre-revolutionary Russia were made up not so much of individual items, but of collections carefully selected. Having made a great contribution to the creation of the Russian cultural heritage, they immortalized their names.

Conclusion

Socio-political tension arises in Russia: a general conflict in which protracted feudalism intertwined, the inability of the nobility to fulfill the role of organizer of society and develop a national idea, the onslaught of the new bourgeoisie, the sluggishness of the monarchy, which did not want concessions, the age-old hatred of the peasant for the master - all this gave rise to the intelligentsia feeling of impending shocks. And at the same time a sharp surge, a flourishing of cultural life. Indeed, it is in critical, extreme situations that a person displays extraordinary talents. Through their activities, creative people showed their own attitude to the surrounding reality. New magazines are being published, theaters are opening, unprecedented opportunities appear for artists, actors, and writers. Their impact on society is enormous. At the same time, a mass culture, designed for an unprepared consumer, and an elite culture, oriented towards connoisseurs, are being formed. Art is splitting. At the same time, Russian culture is strengthening contacts with world culture. Unconditional authority in Europe for Tolstoy and Chekhov, Tchaikovsky and Glinka. "Russian Seasons" in Paris were world famous. In painting, the names of Perov, Nesterov, Korovin, Chagall, Malevich shine; at the theater: Meyerhold, Nezhdanova, Stanislavsky, Sobinov, Chaliapin; in ballet: Nezhinsky and Pavlova, in science: Mendeleev, Tsiolkovsky, Sechenov, Vernadsky. Marina Tsvetaeva argued that “after such an abundance of talents, nature should calm down” (4, p. 154).

The Silver Age was precisely the milestone that predicted the coming changes in the state and became a thing of the past with the arrival of the blood-red 1917, which unrecognizably changed human souls. There was no Silver Age after that. In the twenties, inertia (the flowering of Imagism) still continued, for such a broad and powerful wave, such as the Russian Silver Age, could move for some time before collapsing and crashing. Many poets, writers, critics, philosophers, artists, directors, composers were still alive, whose individual creativity and common labor created the Silver Age, but the era itself ended. Each of its active participants realized that, although people remained, the characteristic atmosphere of the era in which talents grew up had disappeared.

The attempt to "modernize" culture, associated with the reform of PA Stolypin, was unsuccessful. Its results were less than expected and generated new controversy. The buildup of tension in society occurred faster than the answers to emerging conflicts were found. The contradictions between agrarian and industrial cultures intensified, which was also expressed in the 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. Patronage, private support and financing of significant public and cultural events did not help either. Nothing could radically transform the cultural image of the country. The country found itself in a period of unstable development and found no other way out but revolution.

The culture of the Silver Age turned out to be bright, complex, contradictory, but immortal and unique. She reflected the existing reality. And although we call this time the “silver”, not the “golden” age, it may be that it was the most creative era in the history of Russia.

List of used literature

Balakina, T.I. History of Russian culture.-M.: Az, 1996

2. Philanthropists and patrons of the past and present: Dictionary - reference book from A to Z / author-comp .: Makalskaya ML, Bobrovskaya N.N.-M .: Delo and Service, 2003

Blok, A. Poems, poems, theater / A. Blok. - M., 1968

Memories of Marina Tsvetaeva: collection / comp. L.A. Mukhin, L.M. Turchinsky // Notes.- M .: Soviet writer, 1992

Gumilev, N. Works in 3 volumes / N. Gumilev // vol. 3.- M .: Fiction, 1991

Danilov, A.A. History of Russia, XX century: textbook for 9th grade / A.A. Danilov, L.G. Kosulina.-7th ed.- M .: Education, 2001

Dmitriev, S. S. Essays on the history of Russian culture at the beginning of the XX century. -Moscow, Enlightenment, 1985

Zholkovsky, A.N. Wandering dreams. From the history of Russian modernism.-M.: Soviet Writer, 1992

Ivanov, Viach. About a merry craft and smart fun // Decorative art. - 1993. - № 3.

Rapatskaya, L.A. Artistic culture of Russia.-M.: Vlados, 1998

Roerich, N. In memory of Maria Klavdievna Tenisheva / N. Roerich // Literary heritage. - M., 1974

Sokolov A.G., Mikhailova M.V. Russian literary criticism of the late XIX - early XX centuries: an anthology // Cubofuturists. - M .: Higher school, 1982

Soloviev, Vl. Philosophical heritage: Op. in 2 volumes / Vl. Soloviev // t. 2.-M .: Mysl, 1998

Khodasevich, V. "Necropolis" and other memories / V. Khodasevich. - M .: World of Art, 1992

Shamurin, E. The main trends in pre-revolutionary Russian poetry.-Moscow, 1993

Etkind, A. Sodom and Psyche. Essays on the Intellectual History of the Silver Age. - M .: Garant, 1996

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COURSE WORK

By discipline: cultural studies

on the topic: "The Silver Age" in Russian culture "

STUDENT I. V. Zhuravleva

SUPERVISOR _____________________

Moscow 2006

Introduction ................................................. ............................................ 3

Chapter 1. "Silver Age" in Russian culture ........................ 5

1.1 Science ............................................... ..............................................5

1.2 Literature ............................................... .................................... 7

1.3 Theater and music ............................................. ...............................9

1.4 Architecture and sculpture ............................................. .........eleven

1.5 Painting ............................................... .....................................thirteen

Chapter 2. Russian "Renaissance" ........................................... ...........sixteen

Conclusion................................................. ......................................nineteen

Bibliography............................................... 21

Introduction

The "Silver Age" in Russian culture, although it turned out to be surprisingly short (late 19th - early 20th centuries), left its mark on the history of Russia. I think this topic is relevant, since during this period Russian culture has managed to reach the world level. The culture of Russia in the "Silver Age" is marked by high development, many achievements and discoveries. I believe that every citizen of his country should know about its culture.

The great upheavals that our country experienced in a relatively short historical period could not but affect its cultural development. Russian culture, without losing its national identity, increasingly acquired the features of a common European character. Its ties with other countries have grown.

The goal in my coursework is to study and analyze the "Silver Age" in Russian culture. In order to approach this goal, it is necessary to solve some of the tasks I have set. In the first chapter of my work, I want to consider everything that happened during the "Silver Age" in science, literature, theater, music, architecture, sculpture and painting. In science, there are various achievements and discoveries of world significance. Modernist trends appear in literature: symbolism, acmeism, futurism. Theater and music reach the highest level among other countries. Great composers appear. It is also worth paying attention to the greatest Russian sculptors: Trubetskoy, Konenkov, Erzya, who managed to express the main trends in the development of Russian trends. It is necessary to get acquainted with the work of the "world art", which is associated with the revival of book graphics and book art. In the "Silver Age" there was a "modern" style, which had folk roots, relying on an advanced industrial base, and absorbed the achievements of world architecture. "Modern" can be found today in any old city. One has only to take a closer look at the rounded windows, exquisite stucco molding and curved balcony bars of any mansion, hotel or store. The Silver Age, first of all, includes a spiritual phenomenon: the Russian religious revival of the early twentieth century. Therefore, in the second chapter of my work, I want to study and analyze the religious "renaissance". Philosophical thought reaches true heights, which gave the great philosopher N.A. Berdyaev the basis to call the era a "religious and cultural renaissance." Soloviev, Berdyaev, Bulgakov and other major philosophers had a strong, sometimes decisive influence on the development of various spheres of Russian culture. Particularly important in Russian philosophy was the appeal to ethical issues, focusing attention on the spiritual world of the individual, on such categories as life and destiny, conscience and love, insight and delusion.

Now it is necessary to solve all the tasks I have set, thereby I can fulfill the goal in my term paper.

Chapter 1. "Silver Age" in Russian culture

Culture of Russia in the second half of the XIX - early XX century. absorbed artistic traditions, aesthetic and moral ideals of the "golden age" of the previous time. At the turn of the XIX - early XX centuries. In the spiritual life of Europe and Russia, there appeared tendencies associated with the perception of the world of man of the twentieth century. They demanded a new understanding of social and moral problems: personality and society, art and life, the artist's place in society, etc. All this led to the search for new pictorial methods and means. A peculiar historical and artistic period has developed in Russia, which his contemporaries called the “Silver Age” of Russian culture. Expression and title "silver Age" is poetic and metaphorical, not strict or definite. A. Akhmatova has it in the famous lines: "And the silver month froze brightly over the Silver Age ...". It is used by N. Berdyaev. A. Bely named one of his novels "The Silver Dove". The editor of the Apollo magazine S. Makovsky used it to indicate the entire time of the beginning of the 20th century. Russian culture in the conditions of the country's development at the beginning of the twentieth century has acquired a significant scope and a number of new directions. In Russia, there was an upsurge in the field of education: the number of educational institutions grew, the activity of teachers, teachers of higher educational institutions became more active. Publishing was actively developing. Now let's take a closer look at what happened during the "Silver Age" in science, literature, theater, music, architecture, sculpture and painting.

1.1 Science

In the second half of the XIX - early XX century. deepened the process of differentiation of sciences, their division into fundamental and applied. The needs of the industrial development of Russia and new attempts at philosophical understanding of the relationship between nature and society left a special imprint on the state of the natural sciences and the humanities.

In the natural sciences, the discovery by DI Mendeleev of the Periodic Law of Chemical Elements was of great importance. The classical theory of the chemical structure of organic bodies was created by A.M. Butlerov. The studies of mathematicians P.L. Chebyshev and A.M. Lyapunov in the field of number theory, probability theory and a number of branches of mathematical physics were of fundamental and applied importance. Outstanding discoveries have been made in physics and mechanics. The works of A.G. Stoletov prepared the conditions for the creation of modern electronic technology. A revolution in electric lighting was made by the discoveries of P.N. Yablochkov (arc lamp), A.N. Lodygin (incandescent lamp). A.S. Popov was awarded the gold medal for the invention of electrical communication without wires (radio). PN Lebedev confirmed the electromagnetic nature of light. NE Zhukovsky created the theory of water hammer, discovered the law that determines the magnitude of the lifting force of an aircraft wing, developed the vortex theory of the propeller, etc. KE Tsiolkovsky, with his work in the field of rocket dynamics, substantiated the possibility of space flights. Vernadsky's encyclopedic works contributed to the emergence of new trends in geochemistry, biochemistry, and radiology. The development of biology and medicine was marked by major successes. I.M. Pavlov developed the doctrine of higher nervous activity and physiology of digestion. K.A. Timiryazev founded the Russian school of plant physiology. Russian geographers and ethnographers continued their exploration of little-known countries. S.O. Makarov made 2 voyages around the world, gave a systematic description of the Black, Marmara and North Seas. He also suggested using icebreakers to explore the Northern Sea Route. Discoveries in the natural sciences (fissility of the atom, X-rays, radioactivity) have changed the previous understanding of the materiality of the world and greatly influenced the social sciences. In philosophy, the need for a new understanding of nature, society and their connection with man was manifested. Criticism of Charles Darwin's evolutionary theory has intensified. At the same time, Marxism became widespread in Russia as a philosophical basis for the knowledge and transformation of society. Interest in historical knowledge has grown tremendously. S.M. Soloviev wrote many works on various historical issues. VO Klyuchevsky had a tremendous impact on the development of Russian historical science.

Thus, we have examined the main achievements in the development of the science of the "Silver Age".

1.2 Literature

Russian literature continued to play an extremely important role in the cultural life of the country.

Realistic direction in Russian literature at the turn of the twentieth century. continued by Leo Tolstoy ("Resurrection", "Hadji Murad", "Living Corpse"), A.P. Chekhov ("Ward No. 6", "Ionych", "House with a mezzanine"), I.А. Bunin ("The Village", "The Lord from San Francisco") and AI Kuprin ("Olesya", "Yama"). At the same time, new artistic qualities appeared in realism. The spread of neo-romanticism is connected with this. Already the first neo-romantic works "Makar Chudra", "Chelkash" and others brought fame to A.M. Gorky.

The literature appears modernist trends: symbolism, acmeism, futurism.

Russian symbolism as a literary trend took shape at the turn of the XIX and XX centuries. Creativity in the understanding of the Symbolists is a subconscious-intuitive contemplation of secret meanings available only to the artist-creator. The theoretical, philosophical and aesthetic roots and sources of creativity of the Symbolist writers were very diverse. So V. Bryusov considered symbolism to be a purely artistic direction, Merezhkovsky relied on Christian teaching, Vyach. Ivanov sought theoretical support in the philosophy and aesthetics of the ancient world, refracted through the philosophy of Nietzsche; A. Bely was fond of Vladimir Soloviev, Schopenhauer, Kant, Nietzsche.

The magazine Vesy (1904 - 1909) was the artistic and publicistic organ of the Symbolists.

It is customary to distinguish between “senior” and “junior” Symbolists. The “elders” (V. Brusov, K. Balmont, F. Sologub, D. Merezhkovsky), who came to literature in the 90s, preached the cult of beauty and free self-expression of the poet. "Younger" Symbolists (A. Blok, A. Bely, Viach.Ivanov, S. Soloviev) brought to the fore the philosophical and theosophical quests. The Symbolists offered the reader a colorful myth about the world created according to the laws of eternal Beauty.

In 1910, symbolism was replaced by acmeism(from the Greek "akme" - the highest degree of something). The founders of Acmeism are considered N.S. Gumilev (1886 - 1921) and S.M. Gorodetsky (1884 - 1967). The Acmeists, in contrast to the symbolic nebula, proclaimed the cult of real earthly existence, "a courageously firm and clear view of life." But together with him, they tried to assert, first of all, the aesthetic-hedonistic function of art, avoiding social problems in their poetry. The theoretical basis remained philosophical idealism. However, among the Acmeists there were poets who, in their work, were able to get out of the framework of this "platform" and acquire new ideological and artistic qualities (AA Akhmatova, SM Gorodetsky, MA Zenkevich). A.A. Akhmatova's work occupies a special place in the poetry of acmeism. The first collections of A. Akhmatova "Evening" and "Rosary" brought her great fame.

Simultaneously with acmeism in 1910-1912. arose futurism, which broke up into several groups: "Association of ego-futurists" (I. Severyanin and others), "Mezzanine of poetry" (V. Lavrenev, R. Ivlev, etc.), "Centrifuge" (N. Aseev, B. Pasternak and others. ), "Gilea", the participants of which D. Burliuk, V. Mayakovsky, V. Khlebnikov and others called themselves cubo-futurists, Bulyans, i.e. people from the future. Futurism proclaimed a revolution of form, independent of content, absolute freedom of poetic speech. The Futurists abandoned literary traditions.

There were bright individuals in the poetry of this time that cannot be attributed to a specific trend - M. Voloshin (1877-1932), M. Tsvetaeva (1892-1941).

Conclusion: in the literature of the "Silver Age" appeared modernist trends: symbolism, acmeism and futurism.

1.3 Theater and Music

The most important event in the social and cultural life of Russia at the end of the 19th century was the opening in Moscow of an art theater (1898), founded by K.S. Stanislavsky and V.I. Nemirovich-Danchenko. At first, it was not easy for the new theater. The proceeds from the performances did not cover the expenses. Savva Morozov came to the rescue, having invested half a million rubles in the theater in five years. In a short time, an ensemble of remarkable actors (V.I.Kachalov, I.M. Moskvin, O.L. Kniper-Chekhov, and others) was formed at the Art Theater. In the staging of the plays by Chekhov and Gorky, new principles of acting, directing, and design of performances were formed. This outstanding theatrical experiment, enthusiastically received by the democratic public, was not accepted by conservative critics. In 1904, the theater of V.F. Komissarzhevskaya appeared in St. Petersburg, the repertoire of which reflected the aspirations of the democratic intelligentsia. The directorial work of Stanislavsky's student E.B. Vakhtangov was marked by the search for new forms, his staging in 1911-1912. are of a joyful, entertaining character. In 1915, Vakhtangov created the 3rd studio of the Moscow Art Theater. One of the reformers of the Russian theater, A.Ya. Tairov, strove to create a "synthetic theater" of a predominantly romantic and tragic repertoire. Russian theater of the 19th century - it is mainly the theater of the actor. Only a very well-coordinated troupe made up a single ensemble.

The influence of the Moscow Art Theater in those years extended beyond the dramatic stage. A galaxy of wonderful "singing actors" appeared on the opera stage - F.I.Shalyapin, L.V.Sobinov, A.V. Nezhdanova. Gifted with brilliant vocal skills, during the performance they not only performed their operatic parts, but also played like first-class actors. Of particular importance for the popularization of the theatrical and musical art of Russia was the activity of S.P.Dyagilev, who organized in Europe "Russian Seasons" (1907-1913), which became a triumph of Russian culture. The names of Russian dancers - Anna Pavlova, Tamara Karsavina, Vaslav Nijinsky - flashed on the newspaper pages. Representatives of the "Mighty Handful" (M.P. Mussorgsky, N.A. Rimsky-Korsakov and others) and other Russian composers (P.I. Tchaikovsky, S.V. Rachmaninov, etc.) have created many opera, ballet, chamber - vocal and symphonic works. At the beginning of the twentieth century. the search for new musical means of expression was continued by A.N. Skryabin, in whose works chamberliness and symphony were surprisingly intertwined.

Conclusion: in the second half of the XIX century. our music has received worldwide recognition and has a place in the family of European cultures. The first years of the twentieth century saw the heyday of the Russian theater.

1.4 Architecture and sculpture

In the second half of the XIX century. Russian architects faced new challenges. Before they built mainly palaces and temples, but now they had to design railway stations, factory buildings, huge shops, banks. The use of iron and glass expanded, and the use of concrete began. The emergence of new building materials and the improvement of construction technology made it possible to use constructive and artistic techniques, the aesthetic interpretation of which led to the establishment of the “modern” style (from the end of the 19th century to the outbreak of World War II). Art Nouveau masters strove to ensure that everyday objects bore the imprint of folk traditions. Convex glass, curved window sashes, fluid forms of metal bars - all this came to architecture from "modern". In the works of F.O. Shekhtel (1859-1926), the main trends in the development and genres of Russian Art Nouveau were embodied to the greatest extent. The formation of the style in the work of the master went in two directions - the national-romantic, in the mainstream of the neo-Russian style (Yaroslavsky station in Moscow, 1903) and rational (the printing house of A.A. Levenson in Mamontovsky lane, 1900). The features of Art Nouveau were most fully manifested in the architecture of the Ryabushinsky mansion at the Nikitsky Gate, where the architect, abandoning the traditional schemes, applied the asymmetric principle of planning. The early "modern" was characterized by the desire for spontaneity, immersion in the stream of formation, development. In the late "Art Nouveau", a calm "Apolonistic" beginning began to prevail. Elements of classicism returned to architecture. The Museum of Fine Arts and the Borodinsky Bridge were built in Moscow by the project of the architect R. I. Klein. At the same time, the buildings of the Azov-Don and Russian commercial and industrial banks appeared in St. Petersburg.

Like architecture, sculpture at the turn of the century was freed from eclecticism. Eclecticism is a variety of directions and a shift in styles. The renewal of the artistic-figurative system is associated with the influence of impressionism. The first consistent representative of this trend was P.P. Trubetskoy (1866-1938). Already in the first works of the sculptor, the features of the new method were manifested - "looseness", bumpy texture, dynamism of forms, permeated with air and light. Trubetskoy's most remarkable work is the monument to Alexander III in St. Petersburg (1909, bronze). The younger contemporary of Trubetskoy was S.T. Konenkov. He managed to introduce folk motives into sculpture, which, first of all, were embodied in carvings on huts, handicraft toys and other works of applied art. SF Nefedov-Erzya was able to convey both the state of mind and the beauty of the human body in his sculptures. Both marble and wood, and such new materials as cement and reinforced concrete were obedient to him.

Conclusion: the Art Nouveau age was very short, but it was a very bright period in the history of architecture. In addition to Trubetskoy, Konenkov and Erzya, other famous sculptors also worked in Russia at that time, but it was these three masters who were able to express with particular force the main trends in the development of national trends at the beginning of the twentieth century - increased attention to the inner world of a person and the desire for nationality.

1.5 Painting

At the turn of the 19th and 20th centuries, significant changes took place in Russian painting. Genre scenes faded into the background. The landscape lost photographic and linear perspective, became more democratic, based on the combination and play of color spots. The portraits often combined the ornamental convention of the background and the sculptural clarity of the face. The blurring of boundaries between genres at the turn of the century in the historical theme led to the emergence of historical and everyday genre... Artists in this direction: A.P. Ryabushkin, A.V. Vasnetsov, M.V. Nesterov. Impressionism, as a direction, is presented in the works of such artists as II Levitan ("Birch Grove", "March"); K.A. Korovin is the brightest representative of Russian impressionism ("Paris"). The central figure of art at the turn of the century is VA Serov ("Girl with Peaches", "Girl Illuminated by the Sun"). By representatives of the scenic symbolism were M. Vrubel and V. Borisov-Musatov. M.A. Vrubel was a versatile master. He successfully worked on monumental paintings, paintings, decorations, drawings for stained-glass windows. The central image of Vrubel's art is the Demon ("Demon sitting", "Demon subject"). V. Borisov-Musatov created a wonderful and sublime world in his canvases. His work is one of the brightest and most ambitious phenomena. At the turn of the century, the art association "World of Art" appears. Artists in this direction: K.A.Somov, N.A. Benois, E.E. Lansere, M.V. Nesterov, N.K. Roerich, S.P.Dyagilev and others. "Miroiskusnikov" worried about the onset of the industrial era, when huge cities grew, built up with faceless factory buildings. They were worried that art was being supplanted and becoming the property of a small circle of the “elite”. The revival of book graphics and the art of books is associated with the creativity of the "world-experts". Not limiting themselves to illustrations, the artists introduced bookmarks, intricate vignettes and Art Nouveau endings into books. The understanding came that the design of the book should be closely related to its content. The graphic designer began to pay attention to details such as book format, paper color, font, bleed.

In 1907, another art association "Blue Rose" was formed in Moscow, which included the Symbolist artists, followers of Borisov-Musatov (P.V. Kuznetsov, M.S. Saryan). "Goluborozovtsy" were influenced by the style of Art Nouveau, hence the characteristic features of their painting - flat-decorative stylization of forms, the search for sophisticated color solutions.

The artists of the "Jack of Diamonds" association (RR Falk, II Mashkov and others), having turned to the aesthetics of post-impressionism, fauvism and cubism, as well as to the techniques of Russian popular print and folk toys, solved the problems of revealing the materiality of nature, building a form color. The original principle of their art was the affirmation of the subject, as opposed to the spaciousness. In this regard, the image of inanimate nature - still life - came to the fore.

In the 1910s. in painting arises primitivist a trend associated with the assimilation of the stylistics of children's drawings, signboards, popular prints and folk toys. Representatives of this trend are M.F. Larionov, N.S. Goncharova, M.Z. Shagal, P.N. Filonov. The first experiments of Russian artists in abstract art belong to this time, one of the first manifestos of which was Larionov's book "Luchism" (1913), and VV Kandinsky and KS Malevich became true theorists and practitioners.

Thus, the extraordinary diversity and contradictoriness of artistic searches, numerous groups with their own program settings reflected the tense socio-political and complex spiritual atmosphere of their time.

In general, the achievements of Russian culture of the "Silver Age" have received worldwide recognition. Many Russian scientists were honorary members of European academies and scientific institutions. Domestic science has been enriched by a number of achievements. The names of Russian travelers remained on the geographical map of the world. The creativity of artists is developing, their associations are being created. There is a search for new solutions and forms in architecture and sculpture. Musical art is enriched. Drama theater is in its prime. New artistic forms have arisen in Russian literature.

The culture of Russia at the beginning of the twentieth century. marked by a high level of development, many achievements that have replenished the treasury of world culture. She vividly expressed the critical nature of her time, his searches, difficulties, both progressive and crisis phenomena.

Religious philosophy reached particular heights, giving the entire period the name of the philosophical renaissance, which we will get acquainted with in the next chapter of my course work.

Chapter 2. Russian "Renaissance"

The Silver Age is a manifestation of a spiritual and artistic renaissance that marks the rise of Russian culture in the late 19th and early 20th centuries.

The culture of the turn of the century rehabilitated the political "lack of ideology", ethical uncertainty, creative individualism and spiritual chosenness, condemned in due time by representatives of Russian democratic culture. This kind of revival of the ideals and principles of Russian classics has already given contemporaries a reason to call the Silver Age metaphorically - the Russian “cultural renaissance”. Among other things, this name also included the idea of the Renaissance fullness, universalism, cultural multidimensionality and encyclopedism. This characteristic of the Russian cultural Renaissance gives a lot for understanding the deep patterns of the Silver Age itself, which led Russia to revolution.

Supporters of the religious Renaissance saw in the revolution of 1905-1907. a serious threat to the future of Russia, they perceived it as the beginning of a national catastrophe. They saw the salvation of Russia in the restoration of Christianity as the foundation of all culture, in the revival and confirmation of the ideals and values of religious humanism. The onset of the cultural Renaissance contradicted any rationalistic logic and was often justified only by the spiritual chosenness of Russian culture itself. N. Berdyaev, who continued and substantiated the concept of "Russian spiritual and cultural renaissance", characterized the implementation of the integral style of culture in the Silver Age as a difficult struggle of the "people of the Renaissance" against the "narrowedness of consciousness" of the traditional intelligentsia. At the same time, it was a return to the creative heights of spiritual culture of the 19th century.

The Russian cultural Renaissance was created by a whole constellation of brilliant humanitarians - N.A. Berdyaev, S.N.Bulgakov, D.S. Merezhkovsky, S.N. Trubetskoy and others. Published in 1909, a collection of articles by prominent philosophers "Vekhi" sharply raised the question of the values of the Russian intelligentsia, understanding the ways of further development of Russia.

The foundations of the religious and philosophical Renaissance, which marked the "silver age" of Russian culture, were laid by V.S.Soloviev (1853-1900), doing a lot of philosophy, and also studying religious and philosophical literature, experienced a spiritual turning point. It was at this time that the foundations of his future system began to take shape.

The condition for creating an integrative style of culture and achieving cultural synthesis at the turn of the XIX-XX centuries. there was a repulsion from the differentiating tendencies of the previous era, a rethinking or rejection of the facts that limit the freedom of creativity and creative personality. Among them, Berdyaev mentions social utilitarianism, positivism, materialism, as well as atheism and realism, which significantly schematized the philosophical, moral and aesthetic worldview of the Russian intelligentsia in the second half of the 19th century.

The following tasks began to come to the fore of culture:

The creative self-awareness of artists and thinkers of this time;

Creative rethinking and renewal of previously established cultural traditions;

Russian democratic social thought: at the same time, the democratic heritage was opposed mainly by the elite concepts of culture, which brought to the fore the creative personality and individual creativity - in the field of art, philosophy, science, morality, politics, religion, public life, everyday behavior, etc. those. any values and norms;

As for the very principles of Russian democratic culture, the cultural figures of the Silver Age quite consistently opposed the vulgarly interpreted materialism - conscious idealism, atheism - poetic religiosity and religious philosophicalism, nationalities - individualism and personal perception of the world, social utilitarianism - the desire for abstract philosophical Truth, abstract Good ;

The official canons of Orthodoxy, which was opposed to a "creatively understood" religion - "new religious consciousness", sophiology, mystical-religious quests, theosophy, "God-seeking";

Established schools in art - classical realism in literature, itinerant movement and academism in painting, Kuchkism in music, traditions of Ostrovsky's social realism in the theater, etc .; traditionalism in art was contrasted with a variety of artistic modernism, including formal artistic innovation, demonstrative subjectivism.

Thus, the soil arose for a new cultural synthesis.

The Russian "Renaissance" reflected the attitude of people who lived and worked on the edge of the century. The religious and philosophical thought of this period was painfully looking for answers to the questions of Russian reality, trying to combine the incompatible material and spiritual, the denial of Christian dogmas and Christian ethics.

Conclusion

In conclusion, I would like to say that the work done by me fully corresponded to the goals and objectives set in the introduction. In the first chapter, I examined and analyzed the "Silver Age" in Russian culture, namely in science, literature, theater, music, architecture, sculpture and painting. In the second chapter we got acquainted with the cultural "renaissance",

The period from the end of the 19th century to the beginning of the World War went down in history as the “silver age of Russian culture”. We learned that the "Silver Age" was of great importance for the development of not only Russian, but also world culture. For the first time, its leaders expressed serious concern that the emerging relationship between civilization and culture is acquiring a dangerous character, that the preservation and revival of spirituality is an urgent need. It is at the turn of the century that processes develop in art that lead to the formation of a type of mass culture with its characteristic primitivism of depicting human relations. Artistic styles were born, in which the usual meaning of concepts and ideals shifted. Life-like opera and genre painting were becoming a thing of the past. Symbolist and futuristic poetry, music, painting, new ballet, theater, architectural modern were born. The beginning of the twentieth century was deposited on library shelves with many high-class examples of book art. In painting, the association "World of Art" was of great importance, which became an artistic symbol of the border of two centuries. A whole stage in the development of Russian painting is associated with it. A special place in the association was occupied by M.A. Vrubel, M.V. Nesterov and N.K. Roerich. An important feature of the development of the culture of the "Silver Age" is the powerful rise of the humanities.

In Russia at the beginning of the twentieth century, there was a real cultural "renaissance". Russia experienced a flourishing of poetry and philosophy, intense religious searches, mystical and occult sentiments. Religious quests are now recognized not only not refuted by science, but even confirmed by it; religion is drawing closer to art: in religion its creative and aesthetic nature is seen, and art appears as a symbolic language of religious and mystical revelations. Russian religious and philosophical Renaissance, marked by a whole constellation of brilliant thinkers - N.A. Berdyaev, S.N. Bulgakov, D.S. Merezhkovsky, S.N. Trubetskoy, G.P. Fedotov, P.A. Florensky, S. L. Frank and others - largely determined the direction of development of culture, philosophy, ethics, not only in Russia, but also in the West. In the artistic culture of the Russian "Renaissance" there was a unique combination of realistic traditions of the outgoing 19th century and new artistic trends. The "Silver Age" ended with a massive exodus of its creators from Russia. However, this did not destroy the great Russian culture, the development of which continued to mirror the contradictory trends in the history of the twentieth century.

Most importantly, Russia has enriched world culture with achievements in a wide variety of areas. Russian culture more and more reveals itself to the world and opens the world for itself.

Bibliography

2) Balakina T.I. "History of Russian Culture", Moscow, "Az", 1996

3) Balmont K. Elementary words about symbolic poetry // Sokolov A.G. 2000

4) Berdyaev N.A. Philosophy of Creativity, Culture and Art. 1996

5) Kravchenko A.I. A textbook on cultural studies, 2004.

6) History and cultural studies. Textbook, ed. N.V. Shishkova. - M: Logos, 1999

7) Mikhailova M.V. Russian literary criticism of the late XIX - early XX century: an anthology, 2001

8) Rapatskaya L.A. "Artistic Culture of Russia", Moscow, "Vlados", 1998.

9) Ronen Omri. The Silver Age as an Intentional Fiction // Materials and Research on the History of Russian Culture, - M., 2000, Issue 4

10) Yakovkina N.I. History of Russian culture of the XIX century. SPb .: Lan, 2000.

P.N. Zyryanov. History of Russia XIX-early XX centuries., 1997

A.S. Orlov, V.A. Georgiev. History of Russia from ancient times to the present day, 2000

E.E. Vyazemsky, L.V. Zhukov. History of Russia from ancient times to the present day, 2005

Writing

to acquaint students with the poetry of the Silver Age; define the basic principles of modernist poetry; to reveal the social essence and artistic value of new trends in art of the late 19th - early 20th centuries; improve expressive reading skills; educate moral ideals, awaken aesthetic experiences and emotions. equipment: textbook, texts of poems, portraits of poets of the Silver Age, reference diagrams, photo-presentation, literary (crossword) dictation (answers - on the blackboard).

The projected

Results: students make up the abstracts of the teacher's lecture; participate in a conversation on previously studied material; define the basic principles of modernism; expressively read and comment on the poems of the poets of the Silver Age, revealing their artistic originality; interprets selected poems. lesson type: lesson in learning new material.

DURING THE CLASSES

I. Organizational stage

II. Updating basic knowledge

A teacher reading a poem by B. a. Slutsky

THE CENTURY HAS BEEN

Not cars - motors were the names of those cars, now with which - and then they were wonderful.

A pilot's aviator, an airplane - an airplane, even a light painting - the photo was called in that strange century,

What was accidentally worn out

Between twentieth and nineteenth,

The nine hundredth began

And it ended on the seventeenth.

♦ What “century” does the poet mean? Why does he call the century less than two decades? What inventions and scientific theories, besides those mentioned by B. Slutsky, is this era associated with?

♦ The Silver Age ... What thoughts arise in your mind when you hear these words? What associations does the sound of these words evoke? (Silver Age - brilliance, brightness, fragility, instantaneousness, fog, mystery, magic fragility, glare, reflection, transparency, glow, radiance, haze ...)

III. Statement of the goal and objectives of the lesson.

Motivation for learning activities

Teacher. literature is a mirror of the world. It always reflects, to one degree or another, the processes taking place in society. At the beginning of the twentieth century. the whole spiritual life is imbued with comprehension and reflection of the world "in a new way", the search for new unusual forms in art ...

A century ago, the Silver Age was at its most powerful. Its frosty dust is silvery in our poetry, painting, theater, music to this day. To contemporaries, this time could seem a time of decline and decline, but we see it from our present time as an era of exuberant growth, diversity and wealth, which the artists of the turn of the century have generously endowed us with on credit with huge installments. Much has been written about the Silver Age - and the more you read about it, the more you understand the fundamental impossibility of knowing it to the end. facets multiply, new voices are heard, unexpected colors emerge.

And today in the lesson we will learn about the phenomenon of the Silver Age, we will reveal the artistic value of new trends in art of the late 19th - early 20th centuries.

IV. Working on the topic of the lesson

1.the teacher's lecture with confirmation of the main provisions by a photo-presentation (on the blackboard)

(Students write abstracts.)

Reading by a previously prepared student of K. Balmont's poem ""

I came to this world to see the sun

And a blue outlook.

I came to this world to see the sun

And the heights of the mountains.

I came to this world to see the sea

And the lush color of the valleys.

I have enclosed worlds in a single gaze

I am the master.

I conquered the cold oblivion

By creating my dream.

I am filled with revelation every moment

I always sing.

Suffering won my dream

But I am loved for that.

Who is equal to me in my melodious power?

Nobody, nobody.

I came to this world to see the sun

And if the day is out

I will sing, I will sing about the sun

In the hour of death!

So, we are meeting with the whole universe, a new richest and most interesting world - the Silver Age. Many new talented poets appear, many new literary trends. they are often called modernist or decadent.

The word "modernism" in translation from French means "newest", "modern". In Russian modernism, different trends were represented: symbolism, acmeism, futurism, and other modernists denied social values, opposed realism. Their goal was to create a new poetic culture, contributing to the spiritual improvement of mankind.

The name Silver Age was firmly entrenched for the period of development of Russian art in the late 19th - early 20th centuries. It was a time, even for Russian literature, an amazing abundance of names of artists who opened truly new paths in art: a. a. Akhmatova and O. E. Mandelstam, A. a. Blok and V. Ya. Bryusov, D. S. Merezhkovsky and M. Gorky, V. V. Mayakovsky and V. V. Khlebnikov. This list (of course, incomplete) can be continued with the names of 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. Shestov).

What artists and thinkers had in common was the feeling of the beginning of a new era in the development of mankind and a new era in the development of culture and art. This is due to the intense search for new artistic forms, which marked the Silver Age in the history of Russian literature, and above all the emergence of new trends (symbolism, acmeism, futurism, imagism) that claimed the most complete, perfect expression of the requirements of time for art. How this time was perceived and assessed by contemporaries can be judged by the titles of the then extremely popular books: O. Spengler "The Decline of Europe" (1918-1922), M. Nordau "Degeneration" (1896), a sudden outbreak of interest in the "philosophy of pessimism ", At the origins of which is the name a. Schopenhauer. But something else is also characteristic: the presentiment of the inevitability of the inevitability of changes that was literally in the air, which ultimately would prove beneficial for humanity. Today, the Silver Age of Russian culture is called a historically short period at the turn of the century, marked by an extraordinary creative upsurge in poetry, the humanities, painting, music, and theater. For the first time this name was proposed by N. and. Berdyaev. This period is also called the "Russian Renaissance". The question of the chronological boundaries of this phenomenon in literary criticism has not been finally resolved.

Symbolism is the first and largest of the modernist movements that arose in Russia. The beginning of the theoretical self-determination of Russian symbolism was laid by D. S. Merezhkovsky, in whose opinion the new generation of writers faced "a huge transitional and preparatory work." DS Merezhkovsky called the main elements of this work "mystical content, symbols and the expansion of artistic impressionability." The central place in this triad of concepts was assigned to the symbol.

To a certain extent, similar features were inherent in the works of M. Gorky, the most popular realist writer at that time. Being a sensitive observer, he extremely expressively reproduced in his stories, stories, essays the dark sides of Russian life: peasant savagery, philistine indifferent satiety, unlimited arbitrariness of the authorities (the novel "Foma Gordeev", plays "The Bourgeois", "At the Bottom").

However, from the very beginning of its existence, symbolism turned out to be a heterogeneous trend: several independent groupings took shape in its depths. According to the time of formation and according to the peculiarities of the ideological position, it is customary to distinguish two main groups of poets in Russian symbolism. The adherents of the first group, who made their debut in the 1890s, are called “senior symbolists” (V. Ya. Bryusov, KD Balmont, D. S. Merezhkovsky, Z. N. Gippius, F. Sologub, etc.). In the 1900s. new forces merged into symbolism, significantly renewing the appearance of the current (A. A. Blok, Andrei Bely, V. I. Ivanov, and others). The accepted designation for the "second wave" of symbolism is "young symbolism". The “older” and “younger” Symbolists were separated not so much by age as by the difference in attitude and direction of creativity (Vyach. Ivanov, for example, is older than V. Bryusov in age, but proved himself as a symbolist of the second generation).

Symbolism has enriched Russian poetic culture with many discoveries. The Symbolists gave the poetic word a previously unknown mobility and polysemy, taught Russian poetry to discover additional shades and facets of meaning in the word. Symbolism tried to create a new philosophy of culture, strove, after going through a painful period of revaluation of values, to develop a new universal worldview. Having overcome the extremes of individualism and subjectivism, the Symbolists at the dawn of the 20th century. they raised the question of the social role of the artist in a new way, began to search for such forms of art, the comprehension of which could unite people again. The literary trend of Acmeism emerged in the early 1910s. and was genetically associated with symbolism. Young poets who were close to Symbolism at the beginning of their career visited in the 1900s. "Ivanovo Wednesdays" - meetings at the St. Petersburg apartment of Vyach. Ivanov, which received the name "tower" among them. In the bowels of the circle in 1906-1907. gradually a group of poets emerged, which called itself a “circle of young people”. The impetus for their rapprochement was the opposition (as yet timid) to Symbolist poetic practice. On the one hand, the "young" strove to learn the technique of poetry from their senior colleagues, but on the other hand, they would like to overcome the speculation and utopianism of symbolist theories.

Acmeism, according to N. S. Gumilyov, is an attempt to rediscover the value of human life, abandoning the "chaste" desire of the Symbolists to cognize the unknowable.

The Acmeists were N. S. Gumilyov, and. a. Akhmatova, S. M. Gorodetsky, O. E. Mandelstam.

Futurism, like symbolism, was an international literary phenomenon (lat. (IShitn - future) is the common name for the artistic avant-garde movements of the 1910s - early 1920s, primarily in Italy and Russia.

Unlike Acmeism, futurism as a trend in Russian poetry did not originate in Russia. This phenomenon is entirely introduced from the West, where it originated and was theoretically substantiated. The Futurists preached the destruction of the forms and conventions of art in order to merge it with the accelerated life process of the 20th century. They are characterized by admiration for action, movement, speed, strength and aggression; self-exaltation and contempt for the weak; the priority of force, the rapture of war and destruction was asserted. Futurists wrote manifestos, spent evenings where these manifestos were read from the stage and only then published. These evenings usually ended with heated arguments with the public, which turned into fights. so the current received its scandalous, but very wide popularity. Poets-futurists (V.V. Mayakovsky, V.V. Khlebnikov, V.V. Kamensky) opposed themselves to classical poetry, tried to find new poetic rhythms and images, to create the poetry of the future.

Poetic currents of the Silver Age

Symbolism (French, from Greek - sign, symbol) is the European literary and artistic direction in the art of 1870-1910, universal philosophy, ethics, aesthetics and the way of life of that time.

Acmeism (Greek act - the highest degree of anything, blossoming power) is a modernist trend in Russian poetry of the 1910s.

Futurism (lat. - future) is one of the main avant-garde trends in European art at the beginning of the 20th century.

2. Checking the level of perception of what was heard:

Literary (crossword) dictation

A comment. Unlike working with a real crossword puzzle, crossword dictation does not require the preparation of special stencils. Conducted upon completion of any topic. The teacher dictates the interpretation of the word, and the students write down only the word itself under a serial number. thus, the level of mastering literary terms is checked.

1) This word means "modern", the newest. This is a new phenomenon in literature and art in comparison with the art of the past, its goal was to create a poetic culture that contributes to the spiritual revival of mankind. (Modernism)

2) This term is called the turn of the XIX-XX centuries. in Russian literature. (Silver Age)

3) A trend that considered the goal of art to be the intuitive comprehension of world unity. Art was seen as the unifying principle of such unity. Characterized by "secret writing of the ineffable", understatement, replacement of the image. (Symbolism)

4) This trend proclaimed the cult of art as mastery; rejection of the mystical nebula; creation of a visible, concrete image. (Acmeism)

5) This trend, which denied the artistic and moral heritage, preached the destruction of the forms and conventions of art in order to merge it with the accelerated life process. (Futurism)

6) This word means "decline", doom. (Decadence)

Checking the spelling of words (checking against the entry on the board)

3. Creation and solution of a problem situation (in groups)

Task for the 1st group. Remember and comprehend the chronicle of the key events of the Silver Age.

Task for the 2nd group. List the main programmatic works, literary manifestos, almanacs of Russian Symbolists, Acmeists and Futurists. What is the meaning of their polemic with realistic literature?

Task for the 3rd group. “When the world splits in two, the crack goes through the poet's heart ...” (G. Heine). Prove this statement of the poet.

4. reading by students of poems of poets of the Silver Age (acmeists, symbolists, futurists) with brief comments from the teacher

The goal is to get a general idea of the poetry of the Silver Age.

1) N. S. Gumilyov "Captains"

A comment. Modernist poets denied social values and tried to create poetry designed to contribute to the spiritual development of a person. One of the most famous trends in modernist literature was acmeism. Acmeists proclaimed the liberation of poetry from symbolist impulses to the “ideal” and called for a return from the ambiguity of images to the material world, subject, “nature”. But even their poetry had a tendency towards aestheticism, towards the poetry of feelings. This is clearly seen in the work of a prominent representative of Acmeism, one of the best Russian poets of the early 20th century. NS Gumilyov, whose poems amaze us with the beauty of the word, the sublimity of the created images.

N. S. Gumilyov himself called his poetry "the muse of distant wanderings", the poet was faithful to her until the end of his days. The famous ballad "Captains" from the collection of poems "Pearls" that brought N.S. Gumilyov widely known is a hymn to people who challenge fate and the elements. The poet appears before us as a singer of the romance of distant wanderings, courage, risk, courage:

The swift-winged are led by captains - Discoverers of new lands, For whom hurricanes are not afraid, Who has tasted the malstroms and stranded. whose not the dust of lost charters - The salt of the sea is soaked in the chest, Who with a needle on a torn map marks his daring path.

2) V. Ya. Bryusov "Dagger"

§ 12. Culture and religion of the Ancient world

Section III history of the Middle Ages Christian Europe and the Islamic world in the Middle Ages § 13. The great migration of peoples and the formation of barbarian kingdoms in Europe

§ 14. The emergence of Islam. Arab conquests

§15. Features of the development of the Byzantine Empire

§ 16. Empire of Charlemagne and its disintegration. Feudal fragmentation in Europe.

§ 17. The main features of Western European feudalism

§ 18. Medieval city

§ 19. The Catholic Church in the Middle Ages. Crusades Church split.

Section 20. Origin of nation states

21. Medieval culture. The beginning of the Renaissance

Topic 4 from ancient Russia to the Moscow state

§ 22. Formation of the Old Russian state

§ 23. Baptism of Russia and its meaning

§ 24. Society of Ancient Russia

§ 25. Fragmentation in Russia

§ 26. Old Russian culture

§ 27. Mongol conquest and its consequences

§ 28. The beginning of the rise of Moscow

29. Formation of a unified Russian state

§ 30. Culture of Russia at the end of the XIII - beginning of the XVI century.

Topic 5 India and the Far East in the Middle Ages

§ 31. India in the Middle Ages

§ 32. China and Japan in the Middle Ages

Section IV history of modern times

Topic 6 the beginning of modern times

Section 33. Economic development and changes in society

34. Great geographical discoveries. Formations of colonial empires

Theme 7 countries of europe and north america in the 16th-18th centuries

Section 35. Renaissance and humanism

Section 36. Reformation and Counter-Reformation

Section 37. Formation of absolutism in European countries

§ 38. English revolution of the XVII century.

Section 39, War of Independence and the formation of the United States

§ 40. French Revolution of the end of the XVIII century.

§ 41. Development of culture and science in the XVII-XVIII centuries. Age of Enlightenment

Topic 8 Russia in the 16th-18th centuries

§ 42. Russia under the rule of Ivan the Terrible

§ 43. Time of Troubles at the beginning of the XVII century.

§ 44. Economic and social development of Russia in the XVII century. Popular movements

§ 45. Formation of absolutism in Russia. Foreign policy

§ 46. Russia in the era of Peter's transformations

§ 47. Economic and social development in the XVIII century. Popular movements

§ 48. Domestic and foreign policy of Russia in the middle and second half of the XVIII century.

§ 49. Russian culture of the XVI-XVIII centuries.

Theme 9 of the country of the east in the XVI-XVIII centuries.

§ 50. Ottoman Empire. China

§ 51. Countries of the East and the colonial expansion of Europeans

Topic 10 countries of Europe and America in the XlX century.

Section 52. Industrial revolution and its consequences

§ 53. Political development of the countries of Europe and America in the XIX century.

§ 54. Development of Western European culture in the XIX century.

Theme II Russia in the 19th century

§ 55. Domestic and foreign policy of Russia at the beginning of the XIX century.

§ 56. Movement of the Decembrists

§ 57. Internal policy of Nicholas I

§ 58. Social movement in the second quarter of the XIX century.

§ 59. Russia's foreign policy in the second quarter of the XIX century.

§ 60. Abolition of serfdom and the reform of the 70s. XIX century. Counter-reforms

§ 61. Social movement in the second half of the XIX century.

§ 62. Economic development in the second half of the XIX century.

§ 63. Foreign policy of Russia in the second half of the XIX century.

§ 64. Russian culture of the XIX century.

Topic 12 countries of the east during the period of colonialism

§ 65. Colonial expansion of European countries. India in the 19th century

§ 66: China and Japan in the 19th century

Topic 13 international relations in modern times

§ 67. International relations in the XVII-XVIII centuries.

§ 68. International relations in the XIX century.

Questions and tasks

Section V history of the XX - early XXI century.

Topic 14 Peace in 1900-1914

§ 69. The world at the beginning of the twentieth century.

§ 70. Awakening of Asia

§ 71. International relations in 1900-1914.

Topic 15 Russia at the beginning of the twentieth century.

§ 72. Russia at the turn of the XIX-XX centuries.

§ 73. Revolution of 1905-1907.

§ 74. Russia during the Stolypin reforms

§ 75. Silver Age of Russian Culture

Topic 16 World War I

§ 76. Military operations in 1914-1918.

Section 77. War and society

Topic 17 Russia in 1917

§ 78. February revolution. February to October

§ 79. October Revolution and its consequences

Topic 18 countries of western europe and the united states in 1918-1939

§ 80. Europe after the First World War

§ 81. Western democracies in the 20-30s. XX century.

Section 82. Totalitarian and authoritarian regimes

Section 83. International relations between the First and Second World Wars

§ 84. Culture in a changing world

Topic 19 Russia in 1918-1941

Section 85. Causes and course of the Civil War

§ 86. Results of the Civil War

§ 87. New economic policy. Formation of the ussr

§ 88. Industrialization and collectivization in the USSR

§ 89. The Soviet state and society in the 20-30s. XX century.

§ 90. The development of Soviet culture in the 20-30s. XX century.

Topic 20 of the countries of asia in 1918-1939

§ 91. Turkey, China, India, Japan in the 20-30s. XX century.

Theme 21 the second world war. Great Patriotic War of the Soviet people

§ 92. On the eve of world war

§ 93. The first period of the Second World War (1939-1940)

§ 94. Second period of World War II (1942-1945)

Topic 22 world in the second half of the XX - early XXI century.

§ 95. Post-war world order. The beginning of the cold war

§ 96. Leading capitalist countries in the second half of the twentieth century.

§ 97. USSR in the post-war years

§ 98. USSR in the 50's and early 6's. XX century.

§ 99. USSR in the second half of the 60s and early 80s. XX century.

§ 100. Development of Soviet culture

§ 101. USSR during the years of perestroika.

§ 102. Countries of Eastern Europe in the second half of the twentieth century.

Section 103. Collapse of the colonial system

§ 104. India and China in the second half of the twentieth century.

§ 105. The countries of Latin America in the second half of the twentieth century.

§ 106. International relations in the second half of the twentieth century.

§ 107. Modern Russia

§ 108. Culture of the second half of the twentieth century.

§ 75. Silver Age of Russian Culture

The concept of the Silver Age.

The turning point in the life of Russia in the late 19th - early 20th centuries, associated with the transition to an industrial society, led to the destruction of many values and age-old foundations of human life. It seemed that not only the world around us was changing, but also ideas about good and evil, beautiful and ugly, etc.

The comprehension of these problems touched upon the sphere of culture. The flourishing of culture during this period was unprecedented. He embraced all types of creative activity, gave rise to a galaxy of brilliant names. This cultural phenomenon of the late XIX - early XX century. received the name of the Silver Age of Russian culture. It is also characterized by some of the greatest achievements that have reaffirmed Russia's leading positions in this area. But the culture is becoming more complex, the results of creative activity are more contradictory.

Science and technology.

At the beginning of the twentieth century. the main headquarters of national science was the Academy of Sciences with a developed system of institutions. Universities with their scientific societies, as well as all-Russian congresses of scientists, played a significant role in the training of scientific personnel.

Research in the field of mechanics and mathematics has achieved significant success, which has made it possible to develop new fields of science, aeronautics and electrical engineering. Research has played a significant role in this. N.E. Zhukovsky, the creator of hydro- and aerodynamics, works on the theory of aviation, which served as the basis for aviation science.

In 1913 in St. Petersburg at the Russian-Baltic plant were created the first domestic aircraft "Russian Knight" and "Ilya Muromets". In 1911 ... G. E. Kotelnikov designed the first knapsack parachute.

Proceedings V. I. Vernadsky formed the basis of biochemistry, biogeochemistry and radiogeology. He was distinguished by his breadth of interests, the formulation of deep scientific problems and the foresight of discoveries in various fields.

Great Russian physiologist I. P. Pavlov created the doctrine of conditioned reflexes, in which he gave a materialistic explanation of the higher nervous activity of man and animals. In 1904, IP Pavlov, the first Russian scientist, was awarded the Nobel Prize for his research in the physiology of digestion. Four years later (1908) this prize was awarded I. I. Metsnikov for research on the problems of immunology and infectious diseases.

"Milestones".

Soon after the revolution of 1905-1907. several well-known publicists (N.A. Berdyaev, S.N.Bulgakov, P. B. Struve, A. S. Izgoev, S. L. Frank, B. A. Kistyakovsky, M. O. Gershenzon) published the book “Milestones. Collection of articles about the Russian intelligentsia ”.

The authors of Vekhi believed that the revolution should have ended after the publication of the Manifesto on October 17, as a result of which the intelligentsia received those political freedoms that they had always dreamed of. The intelligentsia was accused of ignoring the national and religious interests of Russia, suppressing dissidents, disrespecting the law, inciting the darkest instincts among the masses. The Vekhi people argued that the Russian intelligentsia was alien to its people, who hated it, and would never understand.

Many publicists, primarily supporters of the Cadets, spoke out against the Vekhi people. Their works were published by the popular newspaper Novoye Vremya.

Literature.

Many names that have won worldwide fame have entered Russian literature. Among them I. A. Bunin, A. I. Kuprin and M. Gorky... Bunin continued the traditions and preached the ideals of Russian culture of the 19th century. For a long time, Bunin's prose was rated much lower than his poetry. And only "Village" (1910) and "Sukhodol" (1911), one of which is the social conflict in the countryside, forced to talk about him as a great writer. Bunin's stories and stories, such as "Antonovskie apples", "Life of Arseniev", brought him worldwide fame, as evidenced by the Nobel Prize.

If Bunin's prose was distinguished by the severity, refinement and perfection of form, the external impassivity of the author, then in Kuprin's prose the spontaneity and passion inherent in the personality of the writer manifested itself. His favorite heroes were people who are spiritually pure, dreamy and at the same time weak-willed and impractical. Often, love in Kuprin's works ends with the death of the hero ("Pomegranate Bracelet", "Duel").

The work of Gorky, who went down in history as the "petrel of the revolution", was different. He had a powerful fighter temperament. In his works, new, revolutionary themes and new, previously unknown literary heroes appeared ("Mother", "Foma Gordeev", "The Artamonovs Case"). In his early stories ("Makar Chudra"), Gorky appeared as a romantic.

New trends in literature and art.

The most important and largest movement in literature and art of the 90s of the XIX beginning of the XX century. was symbolism, the recognized ideological leader of which was the poet and philosopher V.S.Soloviev... Scientific knowledge of the world

Symbolists contrasted the construction of the world in the process of creativity. The Symbolists believed that the higher spheres of life cannot be cognized in traditional ways, they are accessible only through the knowledge of the secret meanings of symbols. The Symbolist poets did not seek to be understood by everyone. In their poems, they turned to selected readers, making them their co-authors.

Symbolism contributed to the emergence of new trends, one of which was acmeism (from the Greek ... akme- blooming power). The recognized head of the direction was N. S. Gumilev... Acmeists proclaimed a return from the ambiguity of images, metaphoricality to the objective world and the exact meaning of the word. Members of the circle of acmeists were A. A. Akhmatova, O. Mandelstam... According to Gumilyov, acmeism was supposed to reveal the value of human life. The world must be accepted in all its diversity. Acmeists used different cultural traditions in their work.

Futurism was also a kind of offshoot of symbolism, but it took the most extreme aesthetic form. For the first time, Russian futurism declared itself in 1910 with the publication of the collection "The Trap of Judges" (DD Burliuk, VV Khlebnikov and VV Kamensky). Soon the authors of the collection, together with V. Mayakovsky and A. Kruchenykh, formed a group of cubo-futurists. The Futurists were street poets — supported by the radical student body and the lumpen proletariat. Most of the futurists, in addition to poetry, were also engaged in painting (the Burliuk brothers, A. Kruchenykh, V.V. Mayakovsky). In turn, the futurist artists K.S. Malevich and V.V. Kandinsky wrote poetry.

Futurism has become a poetry of protest seeking to destroy the existing order. At the same time, the Futurists, like the Symbolists, dreamed of creating art that could transform the world. Most of all, they feared indifference to them and therefore used any pretext for a public scandal.

Painting.

At the end of the XIX - beginning of the XX century. such prominent Russian painters of the second half of the last century as V.I.Surikov, brothers Vasnetsov, I.E. Repin continued their creative activity.

At the end of the century, K. A Korovin and M. A Vrubel came to Russian painting. Korovin's landscapes were distinguished by their bright colors and romantic elation, the feeling of air in the picture. The brightest representative of symbolism in painting was M.A. Vrubel. His paintings, like a mosaic, are molded from sparkling pieces. The color combinations in them had their own semantic meanings. Vrubel's plots are striking in fantasy.

A significant role in Russian art of the early twentieth century. the movement was playing " World of Art", which arose as a kind of reaction to the movement of the Itinerants. The ideological basis of the works of the "world of art" was the depiction not of the rough realities of modern life, but of the eternal themes of world painting. One of the ideological leaders of the "World of Art" was A. N. Benois, who had many-sided talents. He was a painter, graphic artist, theater artist, art historian.

The activities of the "World of Art" were contrasted with the work of young artists grouped in the organizations "Jack of Diamonds" and "Union of Youth". These societies did not have their own program, they included Symbolists, Futurists, and Cubists, but each artist had his own creative face.

Such artists were P.N. Filonov and V.V. Kandinsky.

Filonov in his painting technique gravitated towards futurism. Kandinsky - to the latest art, often depicting only the outlines of objects. He can be called the father of Russian abstract painting.

Not so were the paintings of KS Petrov-Vodkin, who preserved the national traditions of painting in his canvases, but gave them a special form. Such are his canvases "Bathing a Red Horse", reminiscent of the image of St. George the Victorious, and "Girls on the Volga", where the connection with Russian realistic painting of the 19th century is clearly traced.

Music.

The largest Russian composers of the early twentieth century were A.I. Scriabin and S.V. Rachmaninov, whose work, excited, upbeat in nature, was especially close to wide public circles during the tense expectation of the revolution of 1905-1907 n. At the same time, Scriabin evolved from romantic traditions to symbolism, anticipating many innovative currents of the revolutionary era ... The structure of Rachmaninoff's music was more traditional. It clearly shows the connection with the musical heritage of the past century. In his works, the state of mind was usually combined with pictures of the outside world, poetry of Russian nature, or images of the past.

Kryukova Angela Viktorovna,

teacher of Russian language and literature

Horlivka secondary school
I-III steps No. 41

Donetsk People's Republic

Russian literature grade 11

Presentation lesson

Lesson topic

The Silver Age as a Cultural and Historical Era. Selected pages of the creative heritage of Russian poets of the Silver Age.

Teaching purpose of the lesson: to form the ability to work with various sources of information, to help comprehend the nature of this era, the era of the rise in science and art; to show the deep unity of all the creators of the Silver Age, despite their external disunity, contradictions in the ways of perceiving the world.

Developing goal: development of speech hearing, mental activity, creative abilities of students, to establish a connection between the spiritual world of a person and the life of the country; develop logical, analytical thinking of students;

Educational purpose: to form moral orientations on the recognition of true and false values, education of aesthetic taste. instill an interest in Russian culture;

Lesson type: combined with ICT

Lesson type: presentation lesson

Form: research work in groups

Didactic material: articles on modernist movements

Visual aids: portraits of poets of the beginningXXcentury, reproductions of paintings by artists of the beginningXXcenturies included in the lesson presentation.

Interdisciplinary connections: fine arts, music, history

Lesson plan:

1. Org. moment

2. Motivation of activity

3. Activating knowledge and setting goals

4. Student activities on the topic of the lesson

5. Lesson summary

6. Homework

Methods and forms of work:

Greetings

Teacher's word

Group performance

Recitation of poems

with literary business card

Working with in groups:

Compilation of information granulations: senkans, reports

organization of partial search activities;

Reflexive Analysis

Prepare a stand project:

"The Silver Age of Russian Literature"

During the classes

Slide 1.

Against the background of the sound of the music of the first slide, the introductory speech of the teacher, the business card of the lesson and the setting of the lesson goals sound.

1. Introductory speech of the teacher

The twentieth century came at zero o'clock on January 1, 1901 - such is its calendar beginning, from which the history and world art of the 20th century counts. But nothing ever begins with the chimes. The shining and rebellious XX century was a consequence of the XIX century!

In general, the turn of the 19th-20th centuries is an era of complex contradictions, intense spiritual quests, revolutionary transformations. “Incinerating years! Is it madness in you, is there any hope? ”- this Blok question-answer prompts one to think about the contradictions that are the key to understanding the Russian Renaissance, this is how the art of the Silver Age is called, comparing it with the European Renaissance. today we will turn to the Silver Age of Russian culture. Let's get acquainted with this wonderful and significant era for Russia. Pay attention to the topic of the lesson. In the topic of the lesson, the words "culture" are highlighted,

-What does this mean? What are we going to talk about today? not only about literature, but also about art, painting, music, theater, in general about the historical situation of that time

In the history of mankind, periods began that were striking in their dynamics and violent explosiveness. The first half of the 19th century is the golden age of Russian culture. 2 slide

-Why was this time called that? What was it characterized by? What are the names?

A. Pushkin and M. Glinka, M. Lermontov and K. Rossi, N. Gogol and K. Bryullov - these are just some of the names of the golden age. At the turn of the 19th and 20th centuries, according to the Russian philosopher N. Berdyaev, the Silver Age of Russian culture began. It did not last long, but it left a bright mark on Russian and world culture.

The art of this period became philosophy, a universal, synthetic view of the world. Social and political foundations were breaking, and people were looking for spiritual support .. This terrible catastrophic time was perceived by various poets in their own way:

They described their feelings as follows:

My age, my beast, who will be able to look

into your pupils?

O.E. Mandelstam

And everything that oppresses us, sweeps away and shines the time,

All old feelings, all the power of cherished words,

And an unknown tribe will rise on the earth,

And the world will be mysterious and new again.

Valery Bryusov

Such sentiments were characteristic of a narrow circle of the creative intelligentsia, and in art they were called "decadence." Yes, this is a terrible catastrophic time ... but it was clearly fixed in the Russian poetry of modernism after the publication of N. Otsup's article.

2. Motivation of activities and goal setting

Slide 2

The visiting card of today's lesson will be amazing, in my opinion, words! 3 slide

See everything, understand everything, know everything, experience everything,

All forms, all colors to absorb with your eyes,

Walk across the land with burning feet

To perceive everything and re-embody.

These words, in my opinion, can become a guiding star for every person who can call himself a Human. So that, as Gorky said, it sounds proud!

Today creative groups will work in the lesson: 1 - historians, 2 - art historians, 3 - literary critics, 4 - readers, 5 - analysts. They received advance assignments, and we will see how they coped with their assignment.

I would like to draw attention. Before each of you is a self-assessment sheet, on which the main parameters of the knowledge, skills, and abilities acquired today are highlighted. You will have to assess the level of knowledge of each stage during the lesson and at the end of the lesson give yourself an average mark.

Slide 4- lesson objectives

The purpose of our meeting:

show the scale and significance of the cultural heritage of the "Silver Age";

get acquainted with the literary movements of the early twentieth century;

to characterize the poetics and worldview of the outstanding representatives of the "Silver Age".

3. Updating knowledge

The lines that sounded so tempting as the calling card of the lesson belong to the poet of the “Silver Age” M. Voloshin. I pronounce the Silver Age. What thoughts arise in your mind when you hear these words? What associations does their sound evoke? We associate this word only with metal, well, we also say on a wonderful winter day: "The snow is silvery."

The Silver Age - shine, brightness, ringing, crystal, glasses, jewelry, fragility, fragility, beauty, transparency, magic, mystery, radiance, voices ...

The sound appearance of the words "Silver Age" creates a special world in our imagination, sets us up for a conversation about something sublime and beautiful.

Slide 4.

- Today we remembered the golden age of culture and we are starting a conversation about Silver. Everything is relative

Let's compare two poems of the “golden” and “silver” ages, which have become favorite romances - “I remember a wonderful moment” by A.S. Pushkin and “I like it ...” by M.I. Tsvetaeva 6 slide

(recitation of poems by students). Druzhinina Lyudmila and Khlopov Dima

What topic are these poems devoted to? (Love theme)

Do we get the same mood when we perceive them?

If the poetry of the "golden" age conveys the feeling of the fullness of life, the joy of being, inner harmony of a person, thenthe poetry of the Silver Age conveys disharmony, inner turmoil, disappointment and mental fatigue. "S. in" developed on the achievements that were achieved by the poets of the previous period and without any connection with the work of the poets of Pushkin's time. "S.v" cannot be comprehended and understood at all. "S.v." is a logical continuation of the Golden Age. This is an attempt to revive in Russian literature those values that were forgotten, discarded in the second half of the XIX century. This is a return to Russian literature of the poetic era.

Teacher: So, let's get acquainted with the searches, findings and achievements of the Silver Age. The floor is given to an art critic

Slide 7- What is hidden behind the concept of "silver age of poetry"?

4. Student activities on the topic of the lesson.

Rudova Masha

Art critic: In art history and literary criticism, this phrase has acquired a terminological meaning. 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 upsurge in the field of poetry, the humanities, painting, music, theatrical art. For the first time this name was proposed by the philosopher N. Berdyaev, but it was clearly assigned to the Russian poetry of modernism after the publication of Nikolai Otsup's article "The Silver Age" of Russian Poetry "(1933), where he compared the" Golden Age "of Russian poetry with the sun, and the Silver - with the moon., and after the publication of the book by Sergei Makovsky "On Parnassus" of the Silver Age "(1962) entered into cultural use finally. For the first time in literary creativity, the expression "Silver Age" was used by A. Akhmatova in the poem "Without a Hero ". 8 slide

On Galernaya the arch was black

In Summer only the weather vane sang,

And the silver month is bright

Frozen over the Silver Age.

-It is no coincidence that the slide depicts who? This is a mythological image. What does it symbolize? 9 slide

Teacher: You know that literature is closely related to all spheres of human life, so you can single out the factors that influence the literary process.

What do you think might influence literature?

Students:

Historical events;

Economic situation;

The concept of personality, ideas about a person, his essence, his relationship to the world around him, other people, values.

Thus, what to write about (topics, problems, nature of conflicts), how to write (genre, means of poetics) and about whom to write about (type of hero) is dictated by the time and social situation in the country and the world.

We live at the turn of the century, even millennia. What feelings do you have? What can you note? What is the complexity of today's life, what worries our contemporaries?

Students:

Complexity of social processes;

Changes and restructuring in all areas of life;

Ambiguous assessments of these changes, a struggle of ideas;

Attempts to change the country, on the one hand, through reforms and, on the other, to impose their will by violent means (terrorism); Ecological disasters

Significant scientific discoveries, especially the rapid development in the field of information technology, which led to the crisis of classical natural science.

If you go back a hundred years and shift your current feelings and moods to those events, you can understand how a person felt at the turn of the XIX - XX centuries.

Let's remember from history what was the foreign policy situation. What important political and historical events took place in Russia? The floor is given to historians

Fomin Alexey slide 10

Historians:

The era of the late 19th and early 20th centuries became a turning point in the history of Russian society, including Russian culture and literature. In 1894, Nikolai II Romanov, the last Russian emperor, ascends the Russian throne. During his reign, Russia experienced an economic upsurge, Siberia and the Far East were actively developing, supplying goods to the world market. But internal contradictions associated with dissatisfaction with the socio-political structure of the state were also growing. The ideas of reorganizing society: Marxism, anarchism and Bolshevism, rejection of the monarchist building. The new stage of historical and cultural development was incredible dynamic and, at the same time, extremely dramatic. We can say that Russia at a crucial time for her was ahead of other countries in the pace and depth of change, as well as in colossal internal conflicts The end of the 19th century revealed the deepest crisis phenomena in economics Russian Empire.
The reform of 1861 by no means decided the fate of the peasantry, who dreamed of "land and freedom." This situation led to the appearance in Russia new revolutionary teaching- Marxism, which relied on the growth of industrial production and a new progressive class - the proletariat.

At the turn of the 19th and 20th centuries, the idea of a rebellious man, capable of transforming an era and changing the course of history, is reflected in the philosophy of Marxism. This appears most vividly in the work of Maxim Gorky and his followers, who persistently brought to the fore the Man with a capital letter, the owner of the earth, the fearless revolutionary who challenged not only social injustice, but also the Creator himself.

The defeat of Russia in the Russian-Japanese war, the Russian revolution of 1905, suppressed by the authorities and the subsequent decline of public life - all this fills creative people a presentiment of future changes., a sense of a crisis that requires resolution. The First World War turned into a catastrophe for the country, pushing it towards an imminent revolution. February 1917 and the subsequent anarchy led to the October coup. As a result, Russia has acquired a completely different face.

The lack of stability in the state gives rise to doubts about the previously adopted system of moral values, pushes society to search for new truths, a new concept of man and art

Let's analyze what's going on? A word to analysts.

Pershina Valeria slide 11

Analyst

At the turn of the 19th and 20th centuries in European, and after it in Russian culture, a kind of cultural revolution takes place, associated with a change in scientific and philosophical ideas about the universe and the role of man in it. Scientific advances in physics and mathematics dispel confidence in ultimate cognizability. the world, in its strict organization, (for example, Maria Curie is one of the creators of the doctrine of radioactivity, Tsiolkovsky is a Russian scientist, the founder of cosmonautics)

At this time, the idea of historical progress begins to be disputed: the usual views on the regularity of what is happening collapse, instilling in a person confusion often gives rise to a desire to violently change reality. Some philosophers and writers are inclined to think about a revolutionary way of transforming society. For example: Chernyshev's novel "What is to be done?" But the tragic feature of the era is the absence of a solid spiritual landmark that is meaningful to everyone. Vice versa the culture of this period amazes with the variety of forms, ideas, trends, directions. Technical discoveries seem to push the boundaries of communication and make art more accessible. There are also forms of art that are fundamentally new from a technical point of view: cinematography appears (The Lumiere Brothers are the founders of cinema)

-Let's listen to historians again

Lobach Natasha

Historians: What is the time frame of the Silver Age?

Most researchers agree that Russian literature of 1890-1921 can be called the "Silver Age".

Why was this time frame chosen? The most widespread version is as follows: in 1890 there were several "significant" events for Russian literature.

1.the publication of several literary and philosophical manifests *;

2. the beginning of the publication of the poetic cycle by Alexander Blok "Poems about the Beautiful Lady";

3. the final formation of a group of "ideological inspirers" of the literature of the "Silver Age".

And in 1921, two leaders of the literature of that time passed away:

2. in the same 1921, on false denunciation, accused and shot Nikolay Gumilyov. Although some literary scholars believe that this era ended in 1917 with the outbreak of the Civil War.

-What changes have taken place in art?

Rudova Masha

Art critic 1: Art has also undergone serious changes. The growth of the urban population in Russia, improvements in the field of public education and the rapid renewal of the technical means that served art - all this led to a rapid growth in viewers and readers. In 1885, a private opera house of S. I. Mamontov was opened in Moscow; since 1895, a new kind of art, cinema, has developed rapidly; in the 1890s, the Tretyakov Gallery and the Moscow Art Theater began to operate. This testified to the dynamic growth of the audience involved in art, and, as a result, to the increased resonance of events in cultural life. The possibilities of art are significantly increasing, its influence on the spiritual life of the country is increasing.

However, all of the above had a reverse, not the most attractive, side. Parallel to high art, the so-called mass, "kitsch" culture developed in Russia. In contrast to mass culture, elite art appeared, initially oriented towards extremely narrow circles of connoisseurs. Art and literature were divided into conflicting poles, split into heterogeneous currents and groupings.

Pictures of artistic trends and trends have radically changed. The previous smooth transition from one stage to another, when at a certain stage of literature dominated by one direction, has gone into oblivion. Different aesthetic systems now existed at the same time ... Slide 17, 18

- Compare the paintings of the golden and silver ages. Pay attention to the theme, color scheme, the way of reflecting reality., Feelings., Which evokes in the audience ( display of reality, natural tones of colors, a sense of empathy for the heroes ---- reality is far from reality, colors and tones are bright, catchy, saturated, too many colors are incongruous, causes a feeling of misunderstanding, surprise, Pay attention to the name The central image is a church. symbolizes spirituality, spirit. Soul.

Conclusion: So we noticed dramatic changes in painting.

A word to an art critic

Skinny Natasha

Art critic 2: The literature of the turn of the century as a culture and society as a whole is characterized by a variety of abundance of various artistic methods and trends. It is important to note that realism, the dominant creative method in 19th century literature, is losing its dominance. Recall that classical realistic art proceeds from the idea of the cognizability of the world about the fundamental possibility of its verbal expression. (Shishkin "Morning in a pine forest") A realist artist seeks to recreate the world around him as a kind of system of relationships that obeys a certain logic. The consciousness of the existence of a universal moral law, a moral and behavioral code on the basis of which authors and readers evaluate the motives and actions of the heroes is also very characteristic of Russian classical realism: spiritual growth or, on the contrary, degradation For example: Dostoevsky "Crime and Punishment") But in the era of doubts about the truth of moral values, in the period of revision of previous ideas about the world and the role of man in it, the situation of a crisis of worldviews, classical realism ceases to meet the needs of writers and readers. This does not mean that the works of writers of the 19th century are less valued, although sometimes the creators of a new culture try to abandon the heritage of the last century, but this entails changes in the literary system.Literators do not abandon the realistic direction, but realism itself is undergoing changes, artistic evolution to better reflect contemporary issues. Along with realism, other systems of a creative plan also appear: they are united by the general term modernism. Figuratively speaking: the general strong stream of literary classical realism spread, broke up into many streams and independent rivulets slide 19 Modernism

- What does the word rebellious-shocking mean?

Analyst's word

Gavrichkina Ira

Analyst The person of this alarming, contradictory, crisis era understood that he was living in a special time, had a presentiment of an impending catastrophe, was in a state confusion, anxiety, realizing his fatal loneliness. In artistic culture, decadence has spread, the motives of which have become the property of a number of artistic trends in modernism.

Decadence (Latin decadentia - decline) is a phenomenon in the culture of the late 19th - early 20th centuries, marked by the rejection of citizenship, immersion in the sphere of individual experiences.

I hate humanity

I'm running from him, hurrying.

My one fatherland-

My desolate soul .

This is what Constantin Balmont wrote. The decadent pathos on the whole contradicted the modernist pathos of the revival of mankind.

A lonely person facing Eternity, Death, the Universe, God cannot become the hero of Goncharov's novel or Ostrovsky's drama. Only a poetic word can express his inner world.

-What was the contradiction between Modernism and Decadence? (development, progress and decline, regression)

Teacher: This thought determined the pathos of many works of idealist philosophers, symbolist writers. On this basis, in literature and art, apocalyptic motives of the completeness of the world arise. But at the same time, the era seems to be a time of some kind of renaissance, spiritual renewal, cultural upsurge. The most important feature of the time is the convergence of philosophy and literature in understanding the role of the spiritual principle in the life of society. The onset of a new era in the life of Russian society is recognized by representatives of the most diverse and ideological and artistic trends.

-And now a word to the analyst

Chuikova Lera

Analyst: It is important to understand that we are talking specifically about the phenomenon Russian culture based on deep unity of all its creators. The Silver Age is not just a collection of Russian poetic names. This is a special phenomenon, represented in all areas of the spiritual life of Russia, an era marked by an extraordinary creative upsurge not only in poetry, but also in painting, music, theatrical art, in the humanities and natural sciences. In the same period, Russian philosophical thought developed rapidly: it is enough to name V. Soloviev, P. Florensky, N. Berdyaev, brothers Trubetskoy. slide 20

To this list can be added the names of scientists whose achievements gave a noticeable impetus to the further development of science - A. Popov, I. Pavlov, S. Vavilov.

The mood of a general cultural upsurge found a deep, heartfelt reflection in the work of composers - S. Rachmaninov, A. Scriabin, I. Stravinsky.

The way artists reproduce has changed fundamentally. M. Vrubel, I. Repin, M. Nesterov, V. Borisov-Musatov, K. Petrov-Vodkin created canvases that spoke to the public in a new language.

V. Komissarzhevskaya and you were performing on the stage. Kachalov, F. Chaliapin, A. Pavlova

K. Stanislavsky created a modern repertoire theater, later Sun shone. Meyerhold.

-We have all heard the expression: "Music is the soul of the people" Let's listen to a small etude by Alexander Nikolaevich Scriabin etude

What feelings are reflected in this music? (tension, fluctuations in feelings, anguish, dynamics) Along with literature, there was a rapid development of the art of music. We are now hearing concert No. 2 by Alexander Nikolayevich Scriabin. Agree, in this music you can hear the philosophical reflections of the composer about the fate of Russian culture, about the fate of man at a crucial time at the turn of two centuries, the nineteenth and twentieth. History is sometimes compared to the “river of times”. In Scriabin's music, history moves in a powerful stream, now slowing down, now speeding up. In the history of culture, there have also been periods of a leisurely solemn flow. Then came periods that were striking in their dynamics and violent explosiveness.

The music reflected the dynamics of the society. The floor is given to a literary critic.

Kuzminov Dima

Literary critic 1: This is the time of the growth of cities, the acceleration of the process of life. Some admired the city (Bryusov, Severyanin, futurists):

I like big houses

And the narrow streets of the city, -

On days when winter has not come

And autumn blew cold.

…………………………….

I love the city and stones

Its roar and melodious noises, -

The moment the song melts deeply

But I am delighted to hear the consonances.

Bryusov V. Ya

Anya Golubyatnikova

Literary critic 2: Others saw the growth of cities as a threat to national traditions, the national soul (Blok, Bely):

Nineteenth century, iron,

A cruel age indeed!

Into the darkness of the night, starless

A careless abandoned man!

Twentieth century ... More homeless.

The gloom is even worse than life ...

Blok A.A.

Through the dusty, yellow clubs

I run with my umbrella down.

And the smoke of the factory chimneys

They spit into the firing horizon.

A person is uncomfortable, anxious to live in flickering circumstances.

In literature, stories come to the fore: people “have no time” to write and read large-scale works.

- All types of art are interconnected by an idea, Let's trace the development and trends of painting.

Skinny Natasha

Art critic 1: The mood of the "Silver Age" of Russian culture found a deep, heartfelt reflection in the work of musicians and artists.

The goal of art becomes not a reflection of reality, but a reflection of the artist's inner world.

M. Vrubel "Demon defeated"Slides 21-24

Everything intertwined with Vrubel in this fantastic strange image - the insoluble contradictions of the century and personal experiences, the impulse to the sun, great love and great suffering, the bright dream of rebirth and the tragic creation of its impossibility. Teacher comment:

Vrubel "Demon defeated"

Block: An unprecedented sunset has gilded unprecedented blue-purple mountains. This is just our name for the three prevailing colors, which "have no name" yet and which serve only as a sign of what the Fallen One conceals in himself: "And evil bored him." The bulk of Lermontov's thought is contained in the bulk of Vrubel's three flowers. "Alone between heaven and earth he sat, gloomy and dumb ..." - the picture seems to sound these tragic lines of Lermontov.

The demon is the personification of evil. Lonely, he sits deep in thought on the top of a cliff. His arms are bulging with magnificent muscles, sculpted with contrasting, color spots, power and beauty in the turn of a strong neck. The Demon's face, crowned with an unruly mane of hair, is plunged into darkness. Only in the huge eyes the reflection of the sunset shines with an alarming light.

There is no hatred or anger in this face - only sadness embodied. The artist, disenchanted with the opportunity to embody the image of Christ in the era of the deepest religious crisis, comes to the image of the "light" Demon, in which he sees not the prince of darkness, but a mighty creative spirit. The plot of the picture is inspired by Lermontov's poem "The Demon". Vrubel wrote about his work this way: The demon is not so much an evil spirit as a suffering and sorrowful spirit, with all this a domineering, majestic spirit ..

The demon is an image of the strength of the human spirit,

Rudova Masha

Art critic:

K. Petrov-Vodkin "Bathing the Red Horse"

The canvas, pushing away from the real earthly existence, revealed a deep symbolic meaning; the sensitive viewer saw in him a kind of call and a premonition of the coming renewal, the purification of mankind ... The sonorous brilliance of the composition, the skill of the drawing, the smoothness of the lines made the picture related not only with the system of ancient Russian icons, but also with the images of the Italian Renaissance.

V. Borisov - Musatov "Ghosts"

The atmosphere of silent sadness reigns in "Ghosts". In late twilight, female figures float through the park; vague visions so shaky, so disembodied that at any moment they can melt, disappear. The line between half-fiction - half-reality, half-asleep - half-reality did not know how, the poet - painter himself did not want to draw - strange white figures on the stairs also speak of the magical duality of the scene: either stone statues come to life in the wrong light, or a procession of ghosts slowly glides into his garden earthly life ...

Kazimir Malevich. Painting "Black Square" 1913

All forms of the world are based on simple forms: straight, square, triangle, circle. It is in these simple forms that reality must be expressed. There is no idea of left and right, top and bottom, all directions are equal. The space of the picture is not subject to gravity. An independent, self-contained world emerges.

Malevich's Black Square is the bottom, the final of self-knowledge. "Black square" is not a color at all, it is the grave of all colors and at the same time the possibility of their revival from under the black surface, a new culture must know the world to the end, destroy the myths of consciousness. "The Black Square is Malevich's experiment, it is a re-coding of the world. This was a general tendency in Russian culture on the eve of the terrible events of the national rift of 1917-1920."

Teacher: In your opinion, was the work of the artists of the "Silver Age" understandable to the people of that time?(Answer: You can say yes, but with difficulty. Because the ongoing changes in the worldview were combined with creative searches. Russian painting overcame national boundaries and became a world-class phenomenon. Artists used all the wealth of both world and their own traditions. it was clear creative searches, changes).

Teacher: Painting, like poetry, is imbued with lyrical, religious and philosophical principles.

Teacher: All this could not but affect the literature. For the era of the turn of the XIX - XX centuries, the transition from classical to non-classical artistry, the interaction of realism and modernism is characteristic.

The modernists defended the special gift of the artist, able to predict the type of new culture. A frank bet on anticipating the future or even on transforming the world by means of art was alien to realists. They, however, reflected the inner human attraction to harmony, to beauty, to creative feeling. For the Symbolists, the first of the arts to express true human feelings was music. Many acmeists praised architects and their creations as the highest achievements of the human spirit. The Futurists considered painting the highest art; almost all of them were artists. But all of them, representatives of different poetic trends, felt an irresistible attraction to the rich world of art.

– What are the distinguishing features of the "Silver Age"?

( all these poets are contemporaries, they are united by time, the epoch itself, they are convinced that they are participating in the spiritual renewal of Russia;

All of them have a feeling of inner chaos and confusion, mental disharmony.

All of them in a special way, reverently relate to the word, image, rhythm; all of them are innovators in the field of sound organization and rhythmic-intonation structure of a poetic work.

They are prone to manifestos, programs, declarations expressing aesthetic tastes, likes and dislikes ...

They are also brought together by selfless worship of art, devotional service to it.)

Slide 26 Literary life of Russia

The stormy social life of Russia at the turn of the century entailed an equally stormy literary life!

How is this manifested? - The beginning of the XX century was characterized by a huge number of literary salons, literary cafes.

Slide 27

First of all, in a huge number of new bright creative individuals. The epithet "silver" ... (over the slide)

Search and research work in groups of texts.

LITERATURE SCIENCES

While literary scholars speak, we fill in the table, comparing different modernist trends.

Criteria for matching	Symbolists	Acmeists	Futurists
1. The purpose of creativity	Decoding of cryptography embodied in the word, prophecy	The return of the poetry of clarity, materiality	Challenge to tradition
2. Attitude towards the world	The desire to create a picture of an ideal world that exists according to the laws of eternal beauty	Understanding the world as a collection of simple objects, sharp, sharp things signs	Obsession with destroying the old world
3. Relationship to the word	Understanding the word as a multi-meaning message, message, element of cryptography	The desire to give a word a definite, precise meaning	Interest in the "self-righteous word", verbal deformations, the creation of neologisms
4. Features of the form	The dominance of allusions and allegories, the symbolic content of ordinary words, exquisite imagery, musicality, lightness of the syllable.	Concrete imagery, "perfect clarity"	The abundance of neologisms, colloquial intonation, the pathos of shocking.

Compare the attitude to the previous cultures of the traditions of Acmeists and Futurists and draw a conclusion about the fundamental difference between "high modernism". Why do many researchers take "futurism" beyond the Silver Age?

(Both symbolism and acmeism bring together the general idea that their work is the result and, in a sense, the "pinnacle" of a single cultural process, which, of course, is of an evolutionary nature. new place come into deep contradiction with the main principle of the Silver Age - continuity in relation to the past.)

Performance of groups Symbolists, Acmeists, Futurists

Mapping to a table slide 28

And now let's try to get to know and try to feel and understand the poets of the Silver Age

Speech by the creative group of reciters

Lavrik Alena - about Anna Akhmatova

Komisarov, Zolotukhin - Duel.

- Why a duel and not a competition?

Druzhinina Yesenin "Letter to Mother"

-How is the poet's inner world revealed in this poem?

Lesson summary

-What are the merits of the Silver Age?Slide 38

_But look at the fate of some poetsSlide 39

Well, now let's summarize all the information and knowledge that we have received today. I offer different types of work. For creative students Alena, Masha, Mile write a report from the lesson ... Slide 40

For students

Lobach N, Pershinoy Lera, Soroka Albert, Khakimova Liza, Gavrichknaya I.

compose senkan to the concept of the Silver Age

The rest are divided into groups and constitute information granulation on topics:

Features of the Silver Age, Cultural figures, Historical setting of the era.

Group responses

Teacher: So why is the silver age shining and rebellious? Slide 41

Grading Self-Assessment Sheet - Teacher Assessment

Homework: to prepare in the form of presentation, business card stories about the poets of the "Silver Age" Bryusov, Gumilev, Blok. and submit the resulting work.

Memorize one poem of the choice of these Silver Age poets

The Silver Age, cultural and historical era, general characteristics. Lesson-presentation "The Silver Age as a Cultural and Historical Era

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Tutoring

§ 75. Silver Age of Russian Culture