Realism has developed at the turn of 1830-1840. The word was told by P. Annenkov in relation to a series of essays about urban Nizak Yakov Butkova. That is, from the very beginning there was an intention to use the socio-lowered material - the human bottom with its ulcers, mud, abomination. But the origin of the direction can be attributed to the time of writing and producing the play of Gogol "Auditor" (1836). She had basically the plot proposed by Pushkin. It is distinguished by the lack of positive heroes. According to the literary critic V.G. Belinsky, Gingerbread Ternaya-Dmukhanovsky and Khlestakov are not carriers of abstract defects, but a living embodiment of the moral decomposition of Russian society as a whole. Followers of Gogol as the author of the "Auditor" and became representatives of the "Natural School". The opponents of them were called "Meschili". Soviet literary studies following M. Gorky - critical realism for focusing the accusatory orientation of this literature. General features of this direction were: social and significant topics; Plots from the lives of low layers of society, a description of the non-invalious life; The problem of "small person"; explicit and veiled accusatory tone; The impairment of "Gnus raise reality"; Realism of artistic expression, against the embellishment of reality. The largest representatives were I.S. Turgenev, F.M. Dostoevsky, V.D. Grigorovich, I.A. Goncharov, N.A. Nekrasov, M.E. Saltykov.

The authors' relationships to their heroes were "cruel." All their flour and vices generously poured on the books of books. It is no closer to N. Mikhailovsky called the cruel talent of Dostoevsky, who, without any literary need, tormented his heroes, persistently not showing them the road to the top. Young writer N. Leukin recalled that N.A. Nekrasov advised him "malice more" to let into the texts, they say, "time is". It was a fashion.

The flourishing of Russian realistic fiction in the second half of the XIX century. Performed against the background of socio-political fermentation, which began in the 1840s, in the reign of Nicholas I (1825 - 1855). Among the numerous novelists of this period there are three gigids, known all over the world: Ivan Sergeevich Turgenev (1818 – 1883), Fedor Mikhailovich Dostoevsky (1821 - 1881) and Lion Nikolaevich Tolstoy (1828 - 1910). In addition, you should mention Ivan Alexandrovich Goncharov (1812 - 1891), the author of the novels "Ordinary History" (1848), "Oblomov" (1859, "Open" (1869).

Both poetic descriptions of nature and deep penetration into the human psyche and realistic image of a rural landlord of life are inherent in the first work of Turgenev - "Hunter's note" (1847-1852). The writer's tendency to socio-political issues - Rudin novels (1856) and the "noble nest" (1859), in which the favorite Turgenev Scene Couple appears: a weak-like hero and heroine, which has a strong will; These types are clearly inspired by the images of Onegin and Tatiana.

Dostoevsky in the early period of creativity was under the strong influence of Gogol and the "Natural School" (Roman "Poor People", 1846). In the future, the writer did not follow the path of most writers - his contemporaries, Dostoevsky did not consider himself an expressive of the interests of any social layer. In his novels, the path of internal development of the human personality is described: Boring conscience with immoral theory ("Crime and Punishment", 1866); Attempts to construct a sinful life with Christian virtues ("Idiot", 1868); The search for God and faith in the obsessed practicalism of the world, where Malovery rules ("Brothers Karamazov", 1879-1880). In his novels there is a complete artistic merger of abstract ideology and unique specific characters and circumstances. In the psychological analysis of human passions, feelings, the characters of Dostoevsky there are no equal in world literature.

Unlike Dostoevsky, the creator is very life-like, but still shifted by subjective perception and ignorance of the world, Tolstoy was a reality expressive. His early works were prepared for writing the monumental novel "War and Peace" (1863-1869), Roman-epic. This is a historic canvas, where the most of the place is occupied by the relationship between five families between 1805 and 1820. Next Roman L.N. Tolstoy, "Anna Karenina" (1873-1877), one of the most significant stories of love in world culture. After 1880, Tolstoy abandoned the psychological and analytical style of his great novels for the sake of simplified narrative style available to the greater masses.

Dramaticria of this period is marked by leadership Alexey Nikolayevich Ostrovskoye (1823 - 1886), which wrote a lot of plays, the best of which, for example, "Poverty is not a vice" (1854), "Thunderstorm" (1859) and "Nonmennica" (1879), still do not go from the scene. The most original playwright of the end of the XIX century. Was Anton Pavlovich Chekhov (1860-1904). The main play of Chekhov is the "Seagull" (1896). It clearly does not fit fully into the realistic standard. It is distinguished by an impressionistic, emotional attitude that has infected the theater audience caused by an endless break between real life and its ideal way. Such impressionism was penetrated by the play "Uncle Vanya" (1900), "Three Sisters" (1901) and "Cherry Garden" (1904). Chekhov created a new dramatic structure consisting of alternating monologues, where all the characters are frank each other, but their recognition is not secession, because People do not hear and do not listen to each other.

Realism

Realism (- real, valid) - artistic direction in art and literature, which is approved in the first third of the XIX century. In the origins of realism in Russia, I. A. Krylov, A. S. Griboedov, A. S. Pushkin (realism in Western literature arises a slightly later, the first representatives were standal and O. de Balzac).

Traits of realism. The principle of vital truth, which is guided by the artist-realist in his work, seeking to give the most complete reflection of life in its typical properties. The loyalty of the image is reproduced in the forms of life itself - the main criterion of artisticity.

Social analysis, historicism of thinking. It is realism that explains the phenomena of life, establishes their causes and investigations on socio-historical soil. In other words, realism is unthinkable without historicism, which involves an understanding of this phenomenon in its conditionality, in development and communication with other phenomena. Historism is the basis of the worldview and artistic method of a realist writer, a kind of key to the knowledge of reality, allowing to combine past, present and future. In the past, the artist is looking for answers to current issues of modernity, and modernity is comprehended as a result of previous historical development.

Critical image of life. Writers deeply and truthfully show negative reality phenomena, focus on the chinds of existing orders. But at the same time, realism is not deprived of the life-affirming pathos, for it is based on positive ideals - patriotism, sympathy to people's masses, searching for a positive hero in life, faith in the inexhaustible opportunities of a person, a dream about the bright future of Russia (for example, "Dead Souls"). That is why in modern literary criticism instead of the concept of "critical realism", which was first introduced by N. G. Chernyshevsky, most often talking about "classical realism". Typical characters in typical circumstances, that is, the characters were depicted in close connection with the public environment that raised them, formed in certain socio-historical conditions.

The relationship of personality and society is the leading problem that realistic literature puts. For realism, the drama of these relationships is important. As a rule, the inhabitants of the realistic works are in the focus of realistic works, uncomplicated life, "hazardous" from their surroundings, people who are able to stand up above society and challenge him. Their behavior and acts become for realist writers the subject of close attention and research.

The multi-faceted character characteristics: their actions, actions, speech, lifestyle and the inner world, "Dialectics of the Soul", which is revealed in the psychological details of its emotional experiences. Thus, realism expands the possibilities of writers in the creative development of the world, in creating a contradictory and complex personality structure as a result of the finest penetration into the depths of the human psyche.

Expressiveness, brightness, imagery, accuracy of the Russian literary language enriched with alive elements, spoken speech, which realist writers draw from the nationwide Russian language.

A variety of genres (epic, lyrical, dramatic, limier, satirical), in which the expression finds all the wealth of the content of realistic literature.

Reflection of real validity does not exclude fiction and fiction (Gogol, Saltykov-Shchedrin, Sukhovo-Kobilin), although these artistic means do not determine the main tonality of the work.

Typology of Russian realism. The question of the typology of realism is associated with the disclosure of well-known patterns that define dominant for certain types of realism and their shift.

In many literary work, there are attempts to establish typical varieties (currents) of realism: Renaissance, educational (or didactic), romantic, sociological, critical, naturalistic, revolutionary, democratic, socialist, typical, empirical, syncretic, philosophical psychological, intellectual, Spiral, universal, monumental ... Since all these terms are quite conditional (terminological troubles) and there are no clear boundaries between them, we propose to use the concept of "stages of development of realism". Let's follow these stages, each of which is developing in conditions of its time and artistically acquitted in its uniqueness. The complexity of the problem of the typology of realism is that typologically peculiar varieties of realism are not simply replaced by each other, but also coexist, develop at the same time. Consequently, the concept of "stage" does not mean that in the same chronological framework there can be no other kind of flow, earlier or later. That is why it is necessary to correlate the work of a realist writer with the work of other realist artists, while detecting an individual originality of each of them, revealing the proximity between the groups of writers.

The first third of the XIX century. In realistic fables of Krylov, the real relations of people in society were reflected, living scenes were drawn, the content of which is varied - they could be household, social, philosophical-historical.

Griboedov created a "high comedy" ("grief from the mind"), that is, a comedy, close to the drama, reflecting the ideas that the educated society of the first quarter of a century lived. Chatsky in the fight against serfs and conservatives defends national interests from the standpoint of common sense and People's Morale. Typical characters and circumstances are given in the play.

In the work of Pushkin there are already planned issues, a methodology for realism. In the novel, Evgeny Onegin, the poet recreated the "Russian Spirit", gave a new one, the objective principle of the image of the hero, the first showed an "excess person", and in the story "Stationander" - a "little man". Pushkin, Pushkin saw that moral potential, which determines the national character. In the novel, the "Captain's daughter" manifested the historicism of the writer's thinking - and in the correct reflection of reality, and in accuracy of social analysis, and in understanding the historical pattern of phenomena, and in the ability to convey the typical characteristics of the character of a person, show it as a generation of a certain public environment.

The 30s of the XIX century. In this era of "timeless", public inactivity was heard only the bold voices of A. S. Pushkin, V. G. Belinsky and M. Yu. Lermontov. Critic saw in Lermontov worthy successor Pushkin. The man in his work carries the dramatic traits of time. In fate

Pechorina The writer reflected the fate of his generation, his "eyelid" ("Hero of our time"). But if Pushkin, the main attention takes a description of the actions, actions of the character, gives the "outline of character", then Lermontov focuses on the inner world of the hero, on an in-depth psychological analysis of his actions and experiences, on the "Human Soul Story".

40s of the XIX century. At the specified period, realists received the name "Natural School" (N. V. Gogol, A. I. Herzen, D. V. Grigorovich, N. A. Nekrasov). The works of these writers are peculiar to the accusatory pathos, the rejection of social reality, reinforced attention to everydayness, everyday life. Gogol did not find the realization of his sublime ideals in the surrounding world, and therefore I was convinced that in the context of Russia, the ideal and beauty of life can be expressed only through the denial of ugly reality. Satirch explores the real, material and domestic basis of life, its "invisible" features and arising from it spiritually poor characters, tightly confident in their dignity and right.

The second half of the XIX century. Creativity of writers of this time (I. A. Goncharov, A. N. Ostrovsky, I. S. Turgenev, N. S. Leskov, M. E. Saltykov-Shchedrin, L. N. Tolstoy, F. M. Dostoevsky, in . Korolenko, A. P. Chekhov) is distinguished by a qualitatively new stage in the development of realism: they not only critically comprehend reality, but also actively looking for ways to transform its close attention to the spiritual life of a person, they penetrate the "soul dialectics", create The world inhabited by complex, contradictory characters saturated with dramatic conflicts. The works of writers are characterized by subtle psychologism and large philosophical generalizations.

List of the XIX-XX centuries. The features of the epoch were most pronounced in the works of A. I. Kompan, I. A. Bunin. They escaped the common spiritual and social atmosphere in the country, deeply and correctly reflected the unique paintings of the most different segments of the population, created a whole and truthful picture of Russia. They are characterized by such topics and problems as the continuity of generations, the legacy of the centuries, the root ties of the person with the past, the Russian nature and features of the national history, the harmonious world of nature and the world of public relations (deprived of poetry and harmony, personifying cruelty and violence), love and death , DISTRIBUTY AND PUBLIC PUBLIC OF HUMAN HAPPINESS, PUBLICS OF THE RUSSIAN SOUL, LONeelness and the tragic predetermination of human existence, the path of liberation from the spiritual oppression. The original and original creativity of writers organically continues the best traditions of Russian realistic literature, and above all the deep penetration into the essence of the depicted life, the disclosure of relations between the environment and personality, attention to the socio-domestic background, the expression of the ideas of humanism.

Dooktyrab decade. The new vision of the world in connection with the processes occurring in Russia in all areas of life determined the new face of realism, significantly different from the classical realism with his "modernity". New figures were prompted - representatives of a special flow within the realistic direction - neorealism ("updated" realism: I. S. Shmelev, L. N. Andreev, M. M. Svtain, E. I. Zamyatin, S. N. Sergeev-Proc , A. N. Tolstoy, A. M. Remizov, B. K. Zaitsev, etc. For them, a waste from sociological understanding of reality is characteristic; development of the sphere of "earth", deepening the specific sensual perception of the world, the artistic study of the subtle movements of the soul, nature and the person who comes into contact, which eliminates the alienation and approaches the initial, unchanged nature of being; Return to the hidden values \u200b\u200bof the nationally rustic elements, able to update life in the spirit of "eternal" ideals (pagan, mystical flavor of the depicted); comparison of bourgeois urban and rural defendance; the idea of \u200b\u200bincompatibilities of the natural strength of life, existing good with social evil; The combination of historical and metaphysical (next to the features of household or specifically historical reality is present "superconduct" background, mythological subtext); The motive of cleansing love as a symbolic sign of the all-life natural unconscious principle, carrying the enlightened rest.

Soviet period. Distinctive features of the socialist realism arose at this time of the socialist realism were party, peopling, the image of reality in its "revolutionary development", the propaganda of the heroic and romantics of socialist construction. In the works of M. Gorky, M. A. Sholokhov, A. A. Fadeeva, L. M. Leonova, V. V. Mayakovsky, K. A. Fedin, N. A. Ostrovsky, A. N. Tolstoy, A. T. Tvardovsky and others. Another reality, other person, other ideals, other aesthetics, principles based on the Moral Code of Fighter for Communism were approved. A new method in art was promoted, which was politicized: he had a pronounced social orientation, expressed the state ideology. In the center of works, a positive hero was usually a positive hero, which was always a beneficial effect on the identity. The main scope of the application forces of such a hero is creative work. It is not by chance that the production romance became one of the common genres.

20-30s of the 20th century. A lot of writers who have forced to live in dictatorial mode, in conditions of cruel censorship, managed to preserve internal freedom, showed the ability to silence, be careful in estimates, go to an allegorical language, - they were betrayed by the truth, genuine art of realism. The genre of anti -topia was born, in which the harsh criticism of a totalitarian society based on the suppression of individuals, individual freedom was given. The fate of A. P. Platonova, M. A. Bulgakov, E. I. Zamyatina, A. A. Akhmatova, M. M. Zoshchenko, O. E. Mandelstam, have long been deprived of the opportunity to publish in the Soviet Union.

The period of "thaw" (the mid-50s is the first half of the 60s). At this historical time, young sixties poets (E. A. Yevtushenko, A. A. Voznesensky, B. A. Akhmadulin, R. I. Christmas, B. Sh is declared themselves. I. Skudzhava et al.) "The rulers of the DUM" of their generation together with representatives of the "third wave" emigration (V. P. Aksenov, A. V. Kuznetsov, A. T. Gladlin, G. N. Vladimov,

A. I. Solzhenitsyn, N. M. Korzhavin, S. D. Dovlatov, V. E. Maksimov, V. N. Winovich, V. P. Nekrasov, etc.), the works of which were characterized by an ostritic understanding of modern reality, preserving The human soul in the conditions of the Command-Administrative System and the internal confrontation of it, confessional, the moral quest for heroes, their release, liberty, romanticism and self-ironym, innovation in the field of artistic language and style, genre variety.

The last decades of the XXVEK. The new generation of writers who lived already in a somewhat relaxed political conditions within the country, made a lyrical, urban and village poetry and prose, not stacked in the tough framework of socialist realism (N. M. Rubtsov, A. V. Zhigulin,

B. N. Sokolov, Yu. V. Trifonov, Ch. T. Aitmatov, V. I. Belov, F. A. Abramov, V. G. Rasputin, V. P. Astafiev, S. P. Zaligin, V. M. Shukshin, F. A. Iskander). The leading themes of their creativity are the revival of the traditional morality and the relationship of man and nature, in which the proximity of writers was manifested to the traditions of Russian classical realism. The works of this pore are permeated with a sense of attachment to their native land, which means that the responsibility for what happens on it, the feeling of irrelevance of spiritual losses due to the rupture of the age-old relations of nature and man. The artists comprehend the fracture in the sphere of moral values, shifts in society in which the human soul is forced to survive, reflect on the catastrophic consequences for those who lose the historical memory, the experience of generations.

The newest Russian literature. In the literary process of recent years, literary criticism is recorded two currents: postmodernism (the blurring of the boundaries of realism, the consciousness of the illusion of what is happening, mixing various artistic methods, style diversity, strengthening the influence of avant-garde - A. G. Bitov, Sasha Sokolov, V. O. Pelevin, T. N . Tolstaya, T. Yu. Kibes, D. A. Prichig) and post-thealism (traditional attention to the fate of a private person, tragically lonely, bring up the degrading everyday life of the moral guidelines trying to self-subsertainment - V. S. Ma Kanin, L. S. Petrushevskaya).

So, realism as a literary-artistic system has a powerful potential of continuous update, which manifests itself in a particular transition for Russian literature. In the work of writers who continue the traditions of realism, there are searches for new topics, heroes, plots, genres, poetic funds, new conversation manner with the reader.

Introduction

A new type of realism develops in the XIX century. This is a critical realism. It differs significantly from the Renaissance and Educational. The flourishing of it in the West is associated with the names of Standal and Balzak in France, Dicken, Tekkequay in England, in Russia - A. Pushkin, N. Gogol, I. Turgenev, F Dostoevsky, L. Tolstoy, A. Chekhov.

Critical realism in a new way depicts the attitude of a person and the environment. Human character is disclosed in organic communication with social circumstances. The subject of deep social analysis was the inner world of man, critical realism simultaneously becomes psychological.

Development of Russian realism

A feature of the historical aspect of Russia's development of the middle of the XIX century is the situation after the uprising of the Decembrists, as well as the emergence of secret societies and circles, the emergence of works A.I. Herzen, Mug of Petrashevtsev. This time is characterized by the beginning of a discharge movement in Russia, as well as the acceleration of the process of the formation of world artistic culture, including the Russian. Realism Russian Creativity Social

Creativity writers - realists

In Russia, the XIX century is a period of exceptional strength and understanding of the development of realism. In the second half of the century, artistic conquests of realism reveal Russian literature on the international arena, they conquer the world recognition. The wealth and diversity of Russian realism allow us to talk about different forms.

The formation of it is associated with the name of Pushkin, which brought Russian literature on a wide path of the image "Fate of People's Fate, the Fate of Human." In the conditions of the accelerated development of Russian literature Pushkin, as it were, its former lag at its former lag, makes new ways in almost all genres and its versatility and its optimism to be akin to the talents of the Renaissance.

Griboedov and Pushkin, and after them, Lermontov and Gogol comprehensively reflected in their work the life of the Russian people.

Writers of the new direction relate to the fact that there are no high and low items for them. Everything that meets in reality becomes the subject of their image. Pushkin, Lermontov, Gogol settled their works with the heroes "and the lower, middle, and higher classes". They truthfully revealed their inner world.

Writers of the realistic direction saw in life and showed in their works that "a person living in society depends on him and in the form of thoughts and in the image of its exercise."

Unlike romantics, the writers of realistic direction show the nature of the literary hero not only as an individual phenomenon, but also as a result of certain, historically established public relations. Therefore, the character of the hero of the realistic work is always historical.

A special place in the history of Russian realism belongs to L. Tolstoy and Dostoevsky. It is thanks to him, the Russian realistic novel acquired world importance. Their psychological skill, penetration into the "dialectic" of the souls opened the way in artistic quest writers of the 20th century. Realism in the 20th century all over the world carries the imprint of the aesthetic discoveries of Tolstoy and Dostoevsky. It is important to emphasize that the Russian realism of the XIX century did not develop isolated from the global historical and literary process.

A great role in the realistic knowledge of social reality was played a revolutionary liberation movement. Prior to the first powerful speeches of the working class, the essence of the bourgeois society, its class structure remained mysterious. The revolutionary struggle of the proletariat made it possible to remove the printing of mysteriousness from the capitalist building, to expose his contradictions. Therefore, it is quite natural that it was in the 30s of the 1930s of the XIX century in Western Europe that realism is approved in literature and art. Obdring the defects of a serf and bourgeois society, a realist writer finds beautiful in the most objective reality. His positive hero is not ascended over life (bazaars in Turgenev, Kirsanov, Lopukhov in Chernyshevsky et al.). As a rule, it reflects the aspirations and interests of the people, the views of the advanced circles of the bourgeois and noble intelligentsia. Realistic art eliminates the gap of the ideal and reality characteristic of romanticism. Of course, in the works of some realists there are indefinite romantic illusions where it is about the incarnation of the future ("dream of a funny person" of Dostoevsky, "What to do?" Chernyshevsky ...), and in this case it is possible to talk about the presence in their work in their work romantic trends. Critical realism in Russia was a consequence of rapprochement of literature and art with life.

Critical realism took a step forward along the path of democratization of literature also compared to the work of the XVIII century enlighteners. He significantly grabbed the current reality. Friende modernity entered the works, critical realists not only as the self-government of serfs, but also as the tragic position of the masses - the serfs of the peasantry, the disadvantaged urban people.

Russian realists of the mid-19th century portrayed society in contradictions and conflicts, in which the real movement of history was reflected, they revealed the struggle of ideas. As a result, reality appeared in their work as an "ordinary stream", as a self-propagating reality. Realism reveals its true essence only under the condition if art is considered by writers as a reflection of reality. In this case, the natural criteria of realism are the depth, truth, objectivity in the disclosure of internal lifestyles, the typical characters acting in the typical circumstances, and the necessary determinators of realistic creativity - historicism, the nationality of the artist's thinking. For realism, the image of a person is characterized in unity with its environment, social and historical concreteness of the image, conflict, the plot, the widespread use of such genre structures, like a novel, drama, story, story.

Critical realism was marked by the unprecedented spread of epic and dramaturgy, which would noticeably poured poetry. Epic genres have the greatest popularity acquired a novel. The reason for his success is mainly that it allows a realist writer with the greatest completeness to implement the analytical function of art, to expose the causes of social evil.

The origins of the Russian realism of the XIH century are Alexander Sergeevich Pushkin. In his lyrics, there is a modern social life with its social contrasts, ideological quests, the struggle of advanced people against political and serfdom. The humanism and nationality of the poet along with his historicism are the most important determinants of its realistic thinking.

The transition of Pushkin from romanticism to the realism manifested itself in Boris Godunov mainly in a particular interpretation of the conflict, in recognizing the decisive role of the people in history. The tragedy is imbued with deep historicism.

Further development of realism in Russian literature is primarily due to N.V. Gogol. The top of his realistic creativity - "Dead Souls". Gogol was observed with anxiously as disappeared in modern society everything is truly human, as the person hits, the person is being rejected. Seeing in art active strength of social development, Gogol does not imagine creativity, not illuminated by the light of a high aesthetic ideal.

The continuation of Pushkin and Gogol traditions was the creativity of I.S. Turgenev. Turgenev has gained popularity after entering the "Hunter Notes". Turgenev achievements in the genre of Roman ("Rudin", "Noborsk nest", "On the eve", "fathers and children"). In this area, his realism acquired new features.

The realism of Turgenev was expressed most brightly in the novel "Fathers and Children". His realism is complicated. There is no historical specificity of the conflict, reflection of the real life movement, the truthfulness of the details, the "eternal questions" of the Being of Love, old age, death, is the objectivity of the image and the tendency, penetrating lyrism into the soul.

A lot of new ones contributed to realistic art writers - Democrats (I.A. Nekrasov, N.G. Chernyshevsky, M.E. Saltykov-Shchedrin et al.). Their realism received the name of sociological. General in it - the denial of the existing serfdom, showing its historical dooms. Hence the sharpness of social criticism, the depth of the artistic study of reality.

Presentation on the topic "Realism as a direction in literature and art" on literature in PowerPoint format. A volumetric presentation for schoolchildren contains information about the principles, features, forms, stages of development of realism as a literary direction.

Fragments from the presentation

Literary methods, directions, flows

• Artistic method - This is the principle of selection of phenomena of reality, the features of their assessment and the originality of their artistic incarnation.
• Literary direction - This is a method that becomes dominant and acquires more definite features associated with the peculiarities of the era and trends in culture.
• Literary current - manifestation of ideological and thematic unity, uniformity of plots, characters, language in the work of several writers of one era.
• Literary methods, directions and currents: classicism, sentimentalism, romanticism, realism, modernism (symbolism, acmeism, futurism)

• Realism - The direction of literature and art that emerged in the 18th century, which has reached the comprehensive disclosure and heyday in the critical implementation of the 19th century and continues to develop in the struggle and interaction with other directions in the 20th century (up to modern times).
• Realism- truthful, objective reflection of reality with specific means inherent in one or another kind of artistic creativity.

Principles of realism

1. Typification of facts of reality, i.e., by Engels, "In addition to the veracity of the parts, the truthful reproduction of typical characters in typical circumstances".
2. Showing of life in development and contradictions that are primarily public.
3. The desire to reveal the essence of life phenomena without limiting the topics.
4. Aspiration to moral searches and educational effects.

The most vivid representatives of realism in Russian literature:

A.N. Ostrovsky, I.S.Turgenev, I.A. Balov, M.E. Saltykov-Shchedrin, L.N. Tolstoy, F.M.Dostoevsky, A.P.chekhov, M.Gorky, I. Bunin, V.Mikovsky, M. Bulgakov, M.Sholokhov, S.Senin, A.I. Solzhenitsyn, etc.

• Basic property - By typing, reflect life in the images corresponding to the essence of the phenomena of life itself.
• Leading artistic criterion - loyalty of reality; The desire for the direct confidence of the image, the "reconciliation" of life "in the forms of life itself." He recognizes the right of the artist to cover all parties to life without any restrictions. A wide variety of artistic forms.
• Task Writer-Realist- try not only to catch life in all its manifestations, but also to understand her, understand those laws by which it moves and who do not always protrude out; It is necessary through the chart of accidents to achieve to types - and with all those always remain faithful truth, not content with superficial study, alien effects and falsehood.

Traits of realism

• The desire for a wide coverage of reality in its contradictions, deep laws and development;
• The image of a person in its interaction with the medium:
• the inner world of characters, their behavior carry time signs;
• much attention is paid to the social and domestic background of time;
• Versatility in the image of a person;
• Social and psychological determinism;
• Historical point of view on life.

Forms of realism

• enlightenment realism
• critical realism
• socialist realism

Stages of development

• Enlightenment realism(D.I. Fonvizin, N.I. Novikov, A.N. Radishchev, Young I.A. Krylov); Syncrettic realism: a combination of realistic and romantic motifs, with a dominant realistic (A.S. Griboedov, A.S. Pushkin, M.Yu. Lermontov);
• Critical realism - the accusatory orientation of works; decisive gap with a romantic tradition (I.A. Goncharov, I.S. Turgenev, N.A. Nekrasov, A.N. Ostrovsky);
• Socialist realism- Penetrate the revolutionary reality and the feeling of socialist transformation of the world (M. Gorky).

Realism in Russia

Appeared in the XIX century. Rapid development and special dynamism.

Features of Russian realism:

• Active development of socio-psychological, philosophical and moral issues;
• Pronounced life-affirming nature;
• Special dynamism;
• Synthetic (closer bond with preceding literary era and directions: educational, sentimentalism, romanticism).

Realism of the 18th century

• imbued with the spirit of educational ideology;
• approved primarily in prose;
• the decisive genre of literature becomes a novel;
• behind the novel occurs bourgeois, or the Meshchansky drama;
• restalled the everyday life of modern society;
• reflected his social and moral conflicts;
• the image of characters in it was straightforward and obeyed moral criteria, sharply distinguished the virtue and vice (only in some works, the personality image was distinguished by complexity and dialectical contradictions (Fielding, Stern, Didro).

Critical realism

Critical realism- The flow that arose in Germany at the end of the 19th century (E. Becher, Drysh, A. Wenzl, etc.) and specializing in theological interpretation of modern natural science (attempts to reconcile knowledge with faith and prove the "inconsistency" and "limited" science) .

Principles of critical realism

• critical realism in a new way depicts the attitude of a person and the environment
• human character is disclosed in organic communication with social circumstances
• the subject of deep social analysis was the inner world of man (critical realism because at the same time becomes psychological)

Socialist realism

Socialist realism - one of the most important artistic directions in the art of the XX century; A special feature method (thinking type), based on the knowledge and understanding of the vital reality of the era, which was understood as a dynamically changing in its "revolutionary development".

Principles of socialism

• Nativity.Thermal heroes must be leaving the people. As a rule, the heroes of socially owned works became workers and peasants.
• Party.Refuse the truth, empirically found by the author, and replace it with the party truth; Show heroic actions, finding a new life, revolutionary struggle for a bright future.
• Concreteness. In the image of reality, show the process of historical development, which in turn must correspond to the doctrine of historical materialism (matter is primary, consciousness is secondary).

In creativity Griboedov, and especially PushkinThe method of critical realism is developing. But it turned out to be stable only in Pushkin, who went ahead and above. Griboedov, on the height achieved in "Mount," height could not resist. In the history of Russian literature, he is an example of the author of one classic work. And the poets of the so-called "Pushkin Pleiada" (Delvig, Languages, Bratannsky) were not able to pick up this discovery. Russian literature remained romantic.

Only in ten years, when Masquerade, Auditor, Arabesque and Mirgorod were created, and Pushkin was in the Zenith of Glory ("Peak Lady", "Captain's Daughter"), in this accordant coincidence of three different geniine realism The principles of the realistic method in its sharply individual forms revealed its internal potency. Covered the main birth and genres of creativity, especially significant was the emergence of realistic prose, which fixed as a time sign Belinsky In the article "On the Russian Tale and Hogol's Poves" (1835).

In different ways, realism looks like three of its founders.

In the artistic concept of the world, Pushkin-Realist is dominated by the idea of \u200b\u200bthe law, on the laws, which cause the state of civilization, public engines, the place and importance of a person, its independence and connection with the whole, the possibilities of copyright. Pushkin is looking for laws in educational theories, in moral universal values, in the historical role of the Russian nobility, in Russian folk riot. Finally, in Christianity and the Gospel. From here - the all-acceptability, the harmony of Pushkin with all the tragedy of personal destiny.

W. Lermontov- On the contrary: a sharp fellowship with God's world order, with the laws of society, a lie and hypocrisy, all of the defendance of personal rights.

W. Gogol"The world, far from any ideas about the law, shall everyday, in which all the concepts about honor and morality, conscience, - in a word, Russian reality, worthy of grotesque ridiculmonation:" On the mirror of the Wanch, bend, if Ryzh Kriva. "

However, in this case, realism turned out to be a lot of geniuses, the literature remained romantic ( Zagoskin, marriage, Kozlov, Weltman, V. Odoyevsky, Venediktov, Marlinskny, N. Polevik, Zhadovskaya, Pavlova, Krasov, Kupull, I. Panayev, Pogorelsky, Podolinsky, Polezhaev, etc.).

In the theater walked around Mochalov in Karatygin, that is, between romantics and classicists.

And only in ten years, that is, around 1845, in the works of young writers of "Natural School" ( Nekrasov, Turgenev, Goncharov, Herzen, Dostoevsky and many others) Realism wins finally, becomes massive creativity. "Natural School" is the true reality of Russian literature. If someone from the followers trying to renounce it now, diminishing the importance of organizational forms and its consolidation, influence Belinsky, then deeply mistaken. We are assured that "schools" was not, but was a "strip," through which various stylists passed. But what is the "strip"? We will again come to the concept of "school", which was not at all the same names of talent, in it there were various stylists (comparable, for example, Turgenev and Dostoevsky), two powerful internal flows: realistic and naturally naturalistic (V. Dal, Bumps , Grebelka, Grigorovich, I. Panayev, Kulchitsky, etc.).

With the death of Belinsky "School" did not die, although he lost his theorist and the inspiration. She turned into a powerful literary direction, its main figures - realist writers - in the second half of the XIX century were the glory of Russian literature. In this powerful direction, they didn't formally belonged to the "school" and did not survive the preliminary stage of romantic development Saltykov, Pisemsky, Ostrovsky, S. Aksakov, L. Tolstoy.

Throughout the second half of the XIX century, the realistic direction is prevalent in Russian literature. His domination seizure in part and the beginning of the 20th century, if they keep in mind Chekhov and L. Tolstoy. Realism as a whole can be qualified as a critical, socially accusatory. Honest, truthful Russian literature is different and could not be in the country of serfdom and autocracy.

Some theorists, disappointed in socialist realism, consider the sign of good tone to abandon the definition of the "critical" in relation to the old classical realism of the XIX century. But the critization of the realism of the last century is an unnecessary testimony that he did not have anything in common with the ultimate "what do I find it?", On which the Bolshevik Socialist Realism was built, destroying Soviet literature.

Another thing, if we raise the question of internal typological species of Russian critical realism. His genericants have - Pushkin, Lermontov and Gogol - Realism performed in different types, as he was also diverse and in realist writers of the second half of the XIX century.

It is easiest that he is amenable to thematic classification: works from noble, merchant, bureaucratic, peasant life - from Turgenev to Zlatovsky. More or less clear genre classification: family-household, chronicle genre - from S.T. Aksakova to Garina-Mikhailovsky; A manor novel with the same elements of family-household, love relations, only on a more mature age stage of the development of heroes, in more generalized typification, with a weak ideological element. In the "Ordinary History" of the clash between the two Adual - age, not ideological. There was another genre of the social and social novel, which are "obcomments" and "fathers and children". But the perspectives of consideration of problems in them are different. In the "Oblomov" - the favoris are stadially considered by the good shallows in the Ilya, when he is still a rapid child, and the burial of them as a result of Baria, Nontelnia. Turgenev in the famous Roman - the "ideological" clash of "fathers" and "children", "princepov" and "nihilism", the superiority of the discharge over nobles, new trends of time.

The most difficult task is to establish typology and species modifications of realism for the methodological basis. All writers of the second half of the XIX century are realists. But what kinds of realism is differentiated?

It is possible to allocate writers whose realism accurately reflects the forms of life itself. These are Turgenev and Goncharov and everyone who came out of the "Natural School". Many these forms of life and Nekrasov. But in the best poems - "Frost - a red nose", "who lives well in Russia" - he is very ingenious, resorts to folklore, fiction, parables, parabolamic and allegoryrs. Scene motivation, binding episodes in the last poem, is purely fabulous, characteristics of heroes - seven men's men - are built on stable folk repetitions. In the poem "Contemporaries" in Nekrasov - a ribbon composition, modeling of images purely grotesque.

Completely unique critical realism at Herzen: there are no forms of life, and the "siegeless humanistic thought". Belinsky celebrated the Volter warehouse of his talent: "Talent went to mind." This mind turns out to be a generator of images, a biography of personalities, whose aggregate on the principle of contrast and merger and discloses the "beauty of the universe." These properties appeared already in "Who is to blame?". But in full power, the visual humanistic thought of Herzen was expressed in "Was and Things". The most distracted concepts of Herzen lifting live images: for example, idealism is forever, but unsuccessfully littered materialism "with its ineptive legs." Tyugyaev and Nikolai I, Granovsky and Belinsky, Dubelt and Benkendorf appear as human types and types of thought, treason-state and creative. These properties of the talent relate to Herzen with Dostoevsky, the author of the "ideological" novels. But Herzen has portraits strictly painted on social characteristics, go to the "forms of life", Dostoevsky has an ideologicalness distracting, infernal and harnessed in the depths of the person.

Extremely brightly acts in Russian literature another variety of realism - satirical, grotesky, which we find from Gogol and Shchedrin. But not only with them. Satira and Grotesque are in separate images of Ostrovsky (Murzanetsky, Gredomoboev, Hlyov), Sukhovo-Koblin (Vavruvin, Tarelkin), Leskova (Levshche, Onopriy Perud) and others. Grotesque is not a simple hyperbole or fantasy. This is a connection in images, types, plots into a single whole of what does not happen in natural life, but what is possible in artistic imagination as a reception in order to identify certain socio-public laws. Gogol is most often - the fades of the inert mind, the nerazumsia of the established situation, the inertia of the habit, the routine of the generally accepted opinion, the illogical, which takes the type of logical: the lies of the hollykov about his Petersburg life, its characteristics of the city and officials of county outback in a letter to the rag. The possibility of commercial trial Chichikov with dead souls is based on the fact that in a serfdom of reality it was easily bought and selling live souls. Shchedrin draws his grotesque techniques from the world of the bureaucratic apparatus, whose fads he studied. It is impossible for ordinary people so that instead of brains in the heads turned out or mince, or an automatic organic. But in the heads of silly pompadurov - everything is possible. Highly, he "stresses" the phenomenon, the impossible is impossible as possible (the debate of the pig with the truth, the boy "in the pants" and the boy "without pants"). Shchedrin masterfully reproduces the casuity of official hooks, the incomplete logic of reasoning of self-confident despots, all these governors, chiefs of departments, columns, quarterly. Their empty philosophy has been firmly formed: "The law of forest in the closet is worth", "the man in the street is always to blame for something," the bribe finally died and the Kushnika nailed in her place "," Enlightenment is useful only when it is not indisputable "," Once-s-zory, I will not bearing! "," Ship him. " Psychologically penetrately reproduced by the verbality of ferry officials, hurrying the idleness of Jews Golovleva.

Approximately the 60-70s, another kind of critical realism was formed, which can be called as philosophical and religious, ethical and psychological. This is primarily about Dostoevsky and L. Tolstom. Of course, and one and the other many stunninghousehold paintings thoroughly designed in forms of life. In the "brothers of Karamazov" and "Anne Karenina" we will find "Family's thought". And yet, Dostoevsky and Tolstoy in the foreground, a certain "doctrine", will this "comprehend" or "caregotment". From this prism, realism is enhanced in its piercing power.

But it should not be thought that philosophical, psychological realism meets only in these two giants of Russian literature. At another artistic level, without the development of philosophical-ethical doctrines to the scale of holistic religious teachings, it is also found in the work of Garshin, in its works such as "four days", "red flower", clearly written on a certain thesis. Properties of this type of realism and poppierators in the "power of the earth" G.I. Uspensky, in the "stuff" of Zlatovratsky. This is the same in nature and the "difficult" talent of Leskov, of course, with a certain biased idea of \u200b\u200bthe "righteous", "fascinated wanderers", who loved to choose talented nature from the people, gifted by God's grace, tragically doomed to death in their natural existence.