Direction, flow, school is Historically folding artistic generality in the literary process. Under the direction originally understood the general nature of all national literature Or a certain period of its period, as well as the goal to which she should strive. In 1821, Professor of Moscow University I.I. Davidsov said that from scientists "Russian literature can and should receive real directions"; In 1822, to determine the direction and success of Russian literature called Professor A.F. Merzlyakov; In 1824 V.K. Kyukhelbecker printed an article "On the direction of our poetry, especially lyrical, in the last decade." In the article I.V. Kirevsky "Nineteenth Century" (1832), the "dominant direction of the minds" of the end of the 18th century. It was determined as a destructive, and the new one - as consisting "in the desire to a soothing equation of a new spirit with the ruins of old times ... In the literature, the result of this direction was the desire to agree on the imagination with reality, the correctness of the forms with freedom content ... in a word, the fact that, in vainly called classicism , With what is still incorrectly called romanticism. " As a result, the direction of the minds mentioned the last works of I.V.Goyat and the novels of V.Skhotga. K.L.Poleva directly applied the word "direction" to some stages of literature, without refusing from broader values. In the article "On the directions and parties in the literature" he called the direction "That, often invisible for contemporaries an inner desire of literature, which gives the character to everyone or at least many works of it in the famous, given time ... the basis of it, in the general sense, happens The idea of \u200b\u200ba modern era or The direction of the whole nation. Criticism of those years mentioned different directions: "People's", "Bayronic", "historical", "German", "French". P.A. Nezzemsky in the book "Background-Ving" (1830) allocated a satirical direction in the Russian theater from A.P.Sumakov to A.S.Griboyedov. The central concept of the direction was criticized by V.G. Belinsky, N.G. Chernyshevsky, N.A. Dobrojubov. In the conversational speech, the writer with the direction "meant the writer of the tendency. At the same time, a variety of literary communion was understood. F.M.Dostoevsky in the anti-breastworking article "GN - BOV and the question of art" (1861) recognizes the presence of literary parties "in the sense of disagreeable convictions" and "the need for a given direction in the literature" ("We yourself are thirsty, a good direction and his high Appreciate "), but he is against a narrow understanding of the social benefit of art" the direction of utilitarists ".

Flow

Gradually, along with the concept of "direction", almost synonymous, but more neutral, not associated with demonstrative tendency, the concept of "current" is used. It is also of uncertainty, sometimes even greater than the "direction" - as in the Brochure D.S. Melezhkovsky "On the reasons for the decline and new currents of modern Russian literature" (1893). KD Balmont in the article "Elementary words about symbolic poetry" (1904) closely related symbolism "With two other varieties of modern literary creativity, known as Decadacy and Impressionism," considering that in fact "all these currents are in parallel , then diverge, then merge into one stream, but, in any case, they strive in one on the board. " The literary studies of the first third of the 20th century. The term style in a wide art historical sense (PN Sakulin, VMFrich, I.A. Vinograd, and others), sometimes used in relation to the most significant literary communities (PN Sakulin, VMFrich, I.A. Sakulin, etc.), sometimes - "Epoch Style"; About the "Epoch styles" recalled and much later (D.S. Likhachev, A.V. Mikhailov). Soviet theorists tried to streamline the use of the words "direction" and "current", proceeding not so much of their historical functioning, how many of their logical constructions. The point of view was the greatest distribution, according to which the direction is large literary and artistic communities, formed by the unity of the creative method: classicism, sentimentalism, romanticism, realism. It was also possible to consider the direction: Renaissance and educational "realism", baroque, naturalism, symbolism, socialist realism. Mannerism, Rococo, predocutantism (identified with sentimentalism), impressionism, expressionism, futurism caused doubt in this sense. Uncertain was the status of modernism, which the Orthodox Soviet theory preferred not to do. A.N.Sokolov contributed to a common elementary chart of adjustments. He acknowledged that the direction is based on the proximity of the meaningful principles. But, for example, a romantic period can continue its existence outside the romantic direction (creativity A.A.Feta, A.K. Tolstoy, Ya.P. Polonsky); There are also directions that have not developed their own method as sentimentalism, which has developed in the fight against classicism and has prepared a new, romantic method.

The flow was recognized as a type of directionallocated by aesthetic, and more often an ideological principle. Romanticism was divided into a revolutionary (in a relaxed version - progressive) and the reaction (in a softened version - conservative). In French classicism, trends were distinguished on the traditions of R. Dekarta rationalism (P. Kornel, J.Rasin, N. Balo), and the currents, more learned the sensualist tradition of P. Gassendi (J.Lafenten, J.B. Molher). In the Russian realism of the 19th century, U.P. Focht contrasted the psychological and sociological course, several flows in socialist realism were distinguished. G.N.Pozosrelov divorced "literary directions" and "Idean-literary flows": the second are not the components of the first, those and others only intersect. More important flows are presented. They differ in the ideological and artistic area, above all, the community of problems. Directions, Pospelov, stand out on the basis of the availability of creative programs, and there were no them to classicism. The currents are recognized in the early stages of literary development, starting with antiquity. Realism is divided into both trends and directions - on various features. Western literary studies usually ignores the concept of direction and flow as scholastic. R.Welllek and O. Torren emphasize the incompression of self-consciousness of literary communities and their designations by researchers: In English, the name "The Epoch of Humanism" was first recorded in 1832, "Renaissance" - in 1840, "Romanticism" - in 1831 (U Takreylya) and Then in 1844 (English romance was not called themselves; Ok. 1849 S.T. Kolridge and U. Dersworth were counted to them. However, due to the availability of programs, manifestos, the facts of similarities between the national literature Wallec and Warren insist on the need for the concept of the period.

School

School is A small combination of writers on the basis of uniform artistic principles, more or less clearly formulated theoretically. School was 16 cent. Group " ". In 18 V. German classicist I.H.Gotzed spoke against the Baroque porch of the "Second Silesian School". At the turn of the 18-19th centuries, the "Lake School" of English Romantics. At the beginning of the 1820s, the concepts of "romantic poetry", "Romantic Rod", "Romantic School" spread. V.A. Zhukovsky and later called the founder of the Russian "Romantic School". Russian realism caused in the framework of the "Natural School"

Silver century poets.

The atmosphere of the silver century

At the end of the nineteenth - the beginning of the twentieth century, Russia experienced an intense intellectual lifting, especially brightly manifested in philosophy and poetry. Philosopher Nikolay Berdyaev called this time by Russian cultural renaissance.

"Now it is hardly to imagine the atmosphere of that time," Nikolai Berdyaev wrote about the silver century in his "philosophical autobiography" "self-knowledge." - Much of the creative rise of that time included in the further development of Russian culture and now there is a heritage of all Russian cultural people. But then was intoxication creative approach, novelty, tension, struggle, challenge. During these years, Russia was sent many gifts. It was the era of waking up in Russia of independent philosophical thought, the flourishing of poetry and the exacerbation of aesthetic sensuality, religious concern and a quest, interest in mysticism and the occultism. New souls appeared, new sources of creative life were opened, saw new dawns, combined the feeling of sunset and death with the hope for the transformation of life. But everything happened in a rather closed circle ... "

But the silver age is not only a period of chronological period. The concept of "Silver Age" is appropriate to apply to the image of thinking, which, being characteristic of artists who have begun among themselves, ultimately merged them in the consciousness of descendants into a certain inseparable Pleiad, who formed the specific atmosphere of the Silver Age, which Berdyaev wrote.

The names of the poets who have made up the spiritual core of the Silver Century, everyone is known: Valery Bryusov, Fedor Sologub, Innokenty Annensky, Alexander Blok, Maximilian Voloshin, Andrey White, Konstantin Balmont, Anna Akhmatova, Nikolai Gumilyov, Marina Tsvetaeva, Vyacheslav Ivanov, Igor Northernik, Boris Pasternak , George Ivanov and many others.

The poets of the Silver Age sought to overcome the attempts of the second half of the XIX century to explain the behavior of a person with social conditions, the environment and continued the traditions of Russian poetry, for which a person was important in itself, his thoughts and feelings are important, his attitude to eternity, to God, to love and death in the philosophical, metaphysical sense. The poets of the Silver Century and in their artistic work, and in theoretical articles and statements questioned the idea of \u200b\u200bprogress for literature. For example, one of the brightest Creators of the Silver Age, Osip Mandelstam wrote that the idea of \u200b\u200bprogress is "the most disgusting type of school ignorance." And Alexander Blok in 1910 argued: "The sun of naive realism has rolled out; It is impossible to comprehend anything outside the symbolism. "

The poets of the Silver Age believed in art, by virtue of the word. Therefore, for their creativity, immersing in the element of the word, the search for new means of expression. They cared not only about the sense, but also about the style - the sound, the music of the word and the full immersion in the element was important for them. This immersion led to the cult of vital formation (inseparalism of the personality of the Creator and his art). And almost always in connection with this, the poets of the Silver Age were unhappy in their personal life, and many of them were badly cumulative.

Literary schools and flows

SYMBOLISM - The first and most significant of the modernist trends in Russia. Philosophy and aesthetics of symbolism was under the influence of various teachings - from the views of the ancient philosopher of Plato to modern symbols of philosophical systems V. Solovyov, F. Nietzsche, A. Bergson. The traditional idea of \u200b\u200bthe knowledge of the world in art, symbolists opposed the idea of \u200b\u200bconstructing peace in the process of creativity. Creativity in understanding symbols - the subconscious and intuitive contemplation of secret meanings, affordable only by the artist-Creator. Moreover, rationally transfer contemplated "secrets" is impossible. According to the world's largest, among the theoretics of Vyacheslav Ivanov, poetry is "Tyline's inener". The artist requires not only superational sensitivity, but the finest ownership of the art of a hint: the value of the poetic speech is in "inexpensive", "utinization of meaning." The main means to convey contemplated secret meanings and was called upon to have a symbol.

Symbolism tried to create a new philosophy of culture, sought, having passed the painful period of reassessment of values, to develop a new universal worldview. Overcoming the extremes of individualism and subjectivism, the symbolists at the dawn of the new century were in a new way about the public role of the artist, began to move to the creation of such forms of art, the experience of which could again unite people.

Poet symbolists

Alexander Blok

Brucery Valery

Hippius Zinaida

Ivanov Vyacheslav

Axism (from Greek. AKME is the highest degree of something, flourishing, maturity, top, edge) - one of the modernist currents in the Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism.

Ambamests sought to feel the sensual plastic clarity of the image and accuracy, the chasingness of the poetic word. Their "earthly" poetry is prone to the camera, aesthetism and poetization of the senses of the pristine person. For acmeism, extreme apoliticality was characterized, complete indifference to the topical problems of modernity.

If in poetry symbolism, a certain factor was a certain mystery covered by a halo of mysticism, then as a cornerstone in poetry aqmeism was put by a realistic look at things. The foggy zyibility and the fuzziness of the characters was replaced with accurate verbal images. The word, according to the aqmeist, should have acquired its original meaning.

Aqmeists have access to mythological scenes and images. A distinctive feature of the acmeist circle of poets was their "organizational cohesion". Essentially, the aqmeists were not so much organized with a common theoretical platform as a group of talented and very different poets that personal friendship united. To his alliance, they gave the significant name of the "shop of poets".

The main ideas of aqmeism were set out in N. Gumileev's program articles "The legacy of symbolism and akmeism" and S. Gorodetsky "Some currents in modern Russian poetry." S. Gorodetsky believed that "symbolism ... After filling out the world" correspondences, "turned it into a phantom, important only inspired, because he ... shifts in other worlds, and silenced his high self-relief. Aqmeists Rose again became good in itself, with their petals, smell and color, and not their imaginary similarities with mystical love or something else. "

Basic principles of aqmeism:

The liberation of poetry from symbolist appeals to the ideal, the return of clarity to it;
- rejection of mystical nebula, adoption of the earthly world in its diversity, visible concreteness, soundness, colorfulness;
- the desire to give the word defined, accurate value;
- the objectivity and clarity of the images, the deposit of parts;
- appeal to man, to "authenticity" of his feelings;
- poetization of the world of original emotions, primitive-biological natural principle;
- Rolling with the past literary epochs, widest aesthetic associations, "longing in world culture".

Poets-ameist

Akhmatova Anna

Gumilev Nikolai

Mandelshtam Osip.

Sergey Gorodetsky

Mikhail Zenkevich

Vladimir Narbut

Futurism (from Lat. Futurum - Future) - the general name of the artistic avant-garde movements of the 1910s - early 1920s. XX century, primarily in Italy and Russia.

This course claimed to build a new art - "the art of the future", speaking under the slogan of nihilistic denial of all previous artistic experience.

Futurists preached the destruction of the forms and conventions of art for the sake of merging it with the accelerated life process of the 20th century. They are characterized by a worship before action, movement, speed, force and aggression; exalting itself and contempt for weak; The priority of strength, soaking with war and destruction approved. In this regard, futurism in his ideology was very close to both the right and left radicals: anarchists, fascists, communists focused on the revolutionary notification of the past.

The idea of \u200b\u200bthe exhaustion of the cultural tradition of the former centuries was the initial point of the aesthetic platform of the Cubefuturists. The programmed were their manifesto, which carried the intentionally scandalous name "Society to Public Taste". It was declared a refusal of the art of the past, called "Reset Pushkin, Dostoevsky, Tolstoy, and so on, and so on. With a steamer of our time. "

However, despite the sufficiently sharp tone and the polemical style of Manifesta, there were a lot of ideas about the paths of further development of art, rapprochement of poetry and painting. For the external bravada of his authors there was a serious attitude to creativity. And the famous shocking phrase about Pushkin, who would seem to be other interpretations, was explained by Khlebnikov, who, in fact, belonged to a completely different way: "Movlyanin is Pushkin in the lighting of world war, in the replacement of the new century, the law of the law of the century laugh Over the Pushkin of the XIX century, "and sound no longer at all. Russian futurism did not pour out in a holistic artistic system; This term was designated a variety of trends in the Russian avant-garde. The system was the avant-garde itself. And Futurism was painted in Russia by analogy with Italian. And the course it turned out to be much more dissimilar than the preceding symbolism and acmeism.

One of the founders of the current, V. Kichnikov was actively engaged in revolutionary transformations in the field of Russian. In an effort to expand the borders of the tongue and its capabilities, a lot has worked on creating new words. According to his theory, the word is deprived of the semantic value, acquiring a subjective color: "vowels we understand how time and space (aspiration character), consonants - paint, sound, smell."

Very soon the words "futurist" and "hooligan" for the modern moderate public became synonymous. The press with the delight followed the "exploits" of the creators of new art. This contributed to their fame in wide circles of the population, caused increased interest, attracted more and more attention.

The main signs of futurism:

Tanning, anarchicity, expression of crowd mass moods;
- denial of cultural traditions, an attempt to create art as directed into the future;
- Riot against the usual standards of poetic speech, experimentalities in the field of rhythm, rhyme, orientation on the pronounced verse;
- Experiments on creating a "dusty" language;
- cult of technology, industrial cities;
- Pafos of Podatage.

Poets-futurists:

Burluk David.

Introduced Alexander

Kamensky Vasily

Mayakovsky Vladimir

Northerner Igor

Khlebnikov Velimir

Imazinism(From Fr. and English image - an image) - a literary and artistic course, which emerged in Russia in the first post-revolutionary years on the basis of the literary practice of futurism.

Imazinism was the last sensational school in the Russian poetry of the 20th century. This direction was created two years after the revolution, but in all its substantive orientation there was nothing to do with the revolution.

The theory of immudy the basic principle of poetry proclaimed the primacy of the "image as such." Not a word-symbol with an infinite number of values \u200b\u200b(symbolism), not the word-sound (cubal fell), not the word-title of the thing (acmeism), and the word-metaphor with one definite value is the basis of the immudy. In his declaration, the IMAZHINISTS claimed that "the only law of art, the only and incomparable method is to identify life through the image and rhythm of the images ... an image, and only an image - this is an instrument of production masters of art ... only an image like naphthalene, a shorting work, saves it last Moth of time. The image is the armor of the string. " The theoretical substantiation of this principle was reduced by the IMAZHINISTS to the likelihood of poetic creativity to the process of development of the language through the metaphor.

Essentially, in their receptions, as well as in their "figures", there was nothing particularly new. "Imazinism" as one of the techniques of artistic creativity was widely used not only by futurism, but also symbolism. The new thing was only persistence, with which the IMAZHINISTS put forward an image to the fore and reduced it all in poetry - and content and form.

A characteristic feature of the development of Russian poetry of the first decades of the XX century was that each literary direction was born under the sign of an irreconcilable struggle, rivalry with their predecessors. And if the beginning of the 1910s passed under the sign "overcoming the symbolism" by acmeists and futurists, then the IMAZHINISM arising at the end of the decade identified the ultimate goal of its struggle "overcoming futurism", with which he essentially consisted in related relationships: "Baby died, a gorust guy Ten years old (1909 was born - died 1919) - Frake futurism. Let's float more friendly: Futurism and Furue Death! "

For five years of active activity, the IMAZHINISTS were able to conquer loud, albeit scandalous glory. Poetic disputes were constantly held, where the masters of the new flow were very successfully proved the superiority of the newly invented poetic system over all previous ones.

Shares of IMAZHINISTS sometimes went beyond the limits of generally accepted norms of behavior. The painting of the walls of the passion monastery with blasphemy inscriptions can also be attributed, and the "renaming" of the Moscow streets (Tverskaya nameplate changed to Yeseninskaya), etc. In 1919, the IMAZHINTS demanded a lot of not a little "state separation from art" .

The relationship of imagineers with the authorities - by virtue of the characteristics of their creative position, extralectric lines and historical moment - require special attention. The IMAZHINISTs because of their scandalous, bohemian lifestyle often fell into the hands of militia and employees of the CC. They brought them out only numerous links with the same securityists.

The main signs of IMAZHINISM:

Imazhinist poets

Yesenin Sergey

Ivnev Rurik

Mariengof Anatoly

Shershevich Vadim.

Pearls of the Silver Age were poets, not belonging to any of the literary schools and directions.

Bunin Ivan.

Pasternak Boris.

Tsvetaeva Marina

As noted earlier, there is no consensus among literary crituals on how to distinguish between the concepts of "artistic system", "literary direction" and "literary flow". Most often, scientists call "systems" "international literary community" (baroque, classicism, etc.), and the terms "direction" and "current" are used in a narrower sense.

The point of view of G.N. is quite common. Pospelova, who believed that literary current - this is the refraction in the work of writers and poets of certain public views (worldhosses, ideologies), and directions - These are writing groups arising from the generality of aesthetic views and certain artistic activities (expressed in treatises, manifestes, slogans, etc.). Flows and directions in this meaning of words is facts of individual national literature(Theory of literature - M., 1978, p.134 - 140).

In other words, direction it is a literary concept that denotes the combination of fundamental spiritual and most aesthetic principles characteristic of the creativity of many writers, a number of groups, as well as those caused by these essential principles of the coincidence and compliance of program-creative installations, themes, heat and styles.

According to Pospelova, literary direction It appears when a group of writers of a country and the era combines on the basis of some particular creative program and creates its own works, focusing on its provisions. This contributes to greater creative organizedness and the completion of their works. But not the program principles that proclaim some group of writers determine the features of their creativity, but, on the contrary, - ideological-artistic communitycreativity brings together writers and inspires them for awareness and proclaiming relevant program principles.

In European literature directions arise only in a new time.When artistic creativity acquires the relative independence and quality of the "art of the word", isolating from other non-counseled genres. The literature is authorulating a personal beginning, it becomes possible to express the author's point of view, choosing a vital and creative position. Renaissance realism, baroque, classicism, educational realism, sentimentalism, romanticism, critical realism, naturalism, symbolism, socialist realism are considered to be the directions in the history of European literature. The existence of these large directions in a number of national literatures is more or less generally accepted. The legitimacy of the allocation of others - Rococo, predocutant, neoclassicism, neoromantism, etc. - Causes disputes.

Directions are not closed, but open character; The transition from one to another suggests the intermediate forms (predocant in the European literature of the XVIII century). A new direction, coming to change the old, does not eliminate it immediately, and for a while coexists with him - between them there is a creative and theoretical controversy.

Alternation and the same sequence of directions in European literature allow them to consider them as an international phenomenon; However, this or that direction in each literature performs from this point of view as a national version of the corresponding pan-European model. The national-historical peculiarity of directions in individual countries is sometimes so much significantly that the assignment of them to a single type is problematic, and the typological community of classicism, romanticism, etc. - very conditional and relative. Thus, when creating a general model of the literary direction, it is necessary to take into account the measure of typological community of its national forms - the fact that under the flag of one direction is often the directions, high-quality various.

The emergence of literary directions in national literature does not mean that all writers necessarily belonged to one or another. There were also such writers who were not towering before programming their creativity did not create literary theories, and their creativity, it means that it is impossible to assign designations arising from any program provisions. Such writers do not belong to any direction. They also have, of course, some community of ideological world, created by certain circumstances of the social life of their country and the epoch, which determined the appropriate communityideological content of their works, and from here and the forms of its expression. So, the work of these writers also possessed some kind of social and historical pattern. A similar group of writers was, for example, in Russian literature - in the era of domination in it of the classic direction. It was formed by M. Chulkov, A. Ablessov, A. Izmailov and others. Such groups of writers whose creativity is connected only ideologically artisticbut not a software generality, the science of literature does not give some "own names" like "classicism", "sentimentalism", etc.

According to Pospelova, the work of those groups of writers who only possess ideological and artistic generality, it is necessary call literary flow.

This does not mean that the difference between literary directions and currents is only that representatives of the first, possessing ideological and artistic generality of creativity, created a creative program, and representatives of the second could not create it. The literary process is a more complex phenomenon. It is very often that the creativity of the group of writers is determined by the country and the epoch that created and proclaimed a single creative program possesses, however, only relativeand one-sidedcreative community that these writers are essentially belonging to one, but to two (sometimes more) literary flows.

Therefore, recognizing one creative program, they understand its position differently and apply them in different ways. There are, in other words, literary destinations that combine the work of writers different flows. Sometimes the writers of different, but something ideologically close to each other are programmatically combined in the process of their general ideological and artistic controversy with writers of other trends, sharply hostile to them.

Thus, the direction records the generality of the deep spiritual and aesthetic foundations of the artistic content, due to the unity of cultural and artistic tradition, the sameness of the world-up-minding of writers and people standing in front of them, and ultimately the similarities of the epochal socio-cultural and historical situation. But the very world, that is, the attitude towards the problems, an idea of \u200b\u200bthe paths and methods of their permission, ideological and artistic concepts, ideals of writers belonging to one direction may be different.

Running from such positions to the concepts of literary directions and flow, Pospelov raises the question of their existence in national literature at various stages of their historical development. According to the researcher, at all the stages of the development of fiction (starting from the literature of ancient Greece), its source has always been the ideological world of writers who represent various public strength and from here often creating their works on the principle of antithesis. Therefore, if there were no clearly decorated directions in national literature until the XVII century, the various currents in them were always.

The flows existed, for example, in the ancient Greek literature of the classical era of its development. Attic democracy created in the V century BC. Brilliant dramaturgy, anti-acracratic in ideological orientation, authoritarian and mythological on ideals. It was one of the main flows of antique literature of that era. But even earlier, from the VI century BC. In those ancient Greek polites where the slave-owned aristocracy was actively developed - and civilians in their maintenance (works of Feognide from Megar, the same choral lyrics Tirtae in Sparta, Pindara in philas), and purely personal, in particular love (Alca and Sappo on Lesbos, Anacreonte). It was another basic course or even the flow in the ancient literature of that era. The appeal of writers of militant attic democracy to dramaturgy, and the aristocratic poets of other policies to the lyrics flowed out of the features of the creativity of those and others.

Roman classical literature created in completely different social life conditions - in the early period of the existence of the imperial power, in the "Century of August," - was characterized by some duality of its trends. The poets of this time responded to the ideological and political requests of the new government and created literature to some extent official, referring to the genre of the civil or philosophical poem ("Aneida" Vergil, "Metamorphosis", Ovid) in them completely dominated mythologically authoritarian mindings. But along with this, the same poets, as well as other pains in our world-seeking "care" from the bustle and vicinity of the life of the Imperial Rome. The heavy atmosphere of the capital they opposed the imaginary joys of the shepherd life ("bucologists" of Vergil), the simplicity of village work (his "Georgiki"), solitary pleasures of the benefits of Being ("Satires" Horace), the thrill of love experiences ("love poems" of Ovid) or they Idealized old, good morals ("ODD" Horace, Elegy Tibulla). Here and manifested, with all mythological authoritarism of the world, the spontaneous humanistic aspirations of these poets.

Different currents can be identified over the subsequent development of literature. For example, in English romanticism, researchers allocate three currents: revolutionary (Byron, Shelly), conservative (Wordsworth, Kalridge. Sauti) and London (Kitts, Lee Hunt) romance. With regard to Russian romantics, they are talking about "philosophical", "psychological", "civil" currents. In Russian realism, some researchers distinguish the "psychological" and "sociological" current.

Thus, if literary flows existed in national literature from the very beginning of their historical life, then the literary directions were in them only at relatively late development stages and always on basedidean-artistic contentliterature of certain trends. Therefore, not literary directions give life to literary flows and hold them into themselves, as some researchers believe, but on the contrary, the currents can be at some stage of their development a single direction, and before or even exist outside its limits. So, the literary course of Russian noble revolutionism began with creativity A.N. Radishcheva, who was not a romantic. Later, there were motifs of civil romance (Pushkin, Ryleev and others), and it entered the direction of romanticism along with poets and other, religious and romantic flow (Zhukovsky, Kozlov and others) (Pospelov G.N. Theory of Literature - M., 1987, p. 140 - 160).

Along with the terms "Direction" and "Current" for the characteristics of writers' associations use the concept " school"And" grouping ". Literary groups and schools assumes the immediate ideological and artistic proximity and the program-aesthetic unity of its participants ("Lake School" in English Romanticism, Parnas Group in France, "Natural School" in Russia, etc.).

The term literary flows usually denote a group of writers associated with the community of ideological positions and artistic principles within one direction or artistic movement. So, modernism is the general name of different groups in the art and literature of the XX century, which distinguishes the departure from classical traditions, the search for new aesthetic principles, a new approach to the image of being, includes such trends as impressionism, expressionism, surrealism, existentialism, Axism, futurism, IMAZHINISM, etc.

The belonging of artists to one direction or flow does not exclude deep differences in their creative individualities. In turn, the individual creativity of writers may manifest the features of various literary directions and flows. For example, O. Balzac, being a realist, creates a romantic novel "Shagreen leather", and μ. Y. Lermontov, along with romantic works, writes a realistic novel "Hero of our time".

The current is a smaller unit of the literary process, often within the framework of the direction, is characterized by the existence of a certain historical period and, as a rule, localization in a certain literature. The basis of the flow also lies the commonality of the meaningful principles, but the similarity of ideological and artistic concepts is manifested more clearly. Often, the generality of the artistic principles forms "artistic system" during the "artistic system". So, within the framework of French classicism, two currents are distinguished. One is based on the traditions of the R. Descartes rationalistic philosophy ("Cartesian rationalism"), which includes the work of P. Cornel, J. Rasina, N. Bouelow. Another course, based mainly to the Sensual philosophy of P. Gassendi, expressed itself in ideological principles of such writers as J. Lafontane, J. B. Moliere. In addition, both currents are different and the system of used artistic agents. In romanticism, two main flows are often distinguished - "progressive" and "conservative", but there are other classifications.

The belonging of the writer to one or another direction or flow (as well as the desire to remain outside the existing flows of literature) implies the free, personal expression of the author of the author, its aesthetic and ideological positions. This fact is connected quite later than the emergence of directions and flows in European literature - the period of the new time, when the personality, the copyright becomes leading in literary work. In this, the fundamental difference between the modern literary process on the development of the literature of the Middle Ages, in which the meaningful and formal features of the texts were "predangible" tradition and "canon". The feature of the directions and flows is that these commonality is based on the deep unity of philosophical, aesthetic and other meaningful principles in many respects of various, individual-copyright art systems.

Directions and flows should be distinguished from literary schools (and literary groups).

Literary school

The literary school is a small combination of writers on the basis of uniform artistic principles formulated theoretically - in articles, manifestations, scientific and publicistic statements, decorated as "Charters" and "Rules". Often, such an association of writers has a leader, "head of school" ("Shchedrian School", poets "Nekrasovskaya school").

Belonging to one school, as a rule, writers who created a number of literary phenomena with a high degree of community are recognized - up to the community of topics, style, language. Such, for example, was in the XVI century. Group "Pleiad". She grew out of a circle of French humanist poets, who united to study the ancient literature, and finally developed by the end of the 1540s. He headed her famous poet P. de Ronsar, and the main theoretical was Joishen du Belly, who in 1549 in the treatise "Protection and the glorification of French" expressed the main principles of school activities - the development of national poetry in the national language, the development of antique and Italian poetic forms . Poetic practice Ronsar, Zhodel, Baifa and Tirara - Pleiada poets - not only brought the glory of the school, but also laid the foundations for the development of French drama XVII-XVIII centuries., Developed a French literary language and various lyrician genres.

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

But many associations of writers, referred to as schools, are named so at the place of their existence, although the similarity of the artistic principles of writers of such associations may not be so obvious. For example, the "Lake School", called in honor of the place where it has developed (North-West England, Lacter), consisted of romantic poets, Far NA in all consonant with each other. Lakeists include Wordsworth, S. Kolridge, who created a collection of "lyrical ballads", as well as R. Sauti, T. de Quinsi and J. Wilson. But the poetic practice of the latter was largely different from the ideologue of the school - Wordsworth. De Quinsi himself, in memoirs, denied the existence of the "Lake School" existence, and Sauti often performed with criticism of ideas and vordsworth poems. But due to the fact that the union of the poets leukeists existed, had the similarity of the aesthetic and artistic principles reflected in poetic practice, outlined their "program", historians of literature traditionally refer to this group of poets "Lake School".

The concept of "literary school" is predominantly historical, and not typological. In addition to the criteria of the unity of the time and place of the existence of the school, the presence of manifestos, declarations and similar artistic practices, the circles of writers often represent groups united by the "leader", having followers, which are preferably developing or copying its artistic principles. A group of English religious poets of early XVII century. Forced Spencer School. Being under the influence of the poetry of his teacher, Brothers Fletchers, W. Brown and J. Whita imitated images, themes, poetic forms of the Creator "Queen Fay". The poets of Spencer School copied even the type of stanza created by him for this poem, directly borrowing the allegories and the stylistic turns of their teacher. Interesting the fact that the work of followers of the poetic school of Spencer remained on the periphery of the literary process, but the creativity of E. Spencer influenced the poetry of J. Milton, and later J. Kita.

Traditionally, the origin of Russian realism is associated with the "Natural School", which existed in the 1840-1850s., Preferably associated with the work of N. V. Gogol and developing its artistic principles. For the "Natural School", many signs of the concept of "literary school" are characterized, and it is as "literary school" she was aware of contemporaries. The main ideologist of "Natural School" was V. G. Belinsky. It includes the early works of I. A. Goncharov, N. A. Nekrasova, A. I. Herzen, V. I. Dalya, A. N. Ostrovsky, I. I. Panayev, F. M. Dostoevsky. Representatives of "Natural School" were grouped around the leading literary journals of that time - first "domestic notes", and then "contemporary". Companies "Physiology of St. Petersburg" and "Petersburg Collection", in which the works of these writers and Articles of V. G. Belinsky were published for school. The school had its own system of artistic principles, which was most brightly manifested in a special genre - physiological essay, as well as in the realistic development of the genres of the story and the novel. "The content of the novel, - wrote V. G. Belinsky, is an artistic analysis of modern society, the disclosure of those invisible foundations of it, which is hidden and unconscious from him". Features of "Genuine School" manifested themselves in her poetics: love for details, professional, household peculiarities, extremely accurate fixation of social types, desire for documentary, the underlined use of statistical and ethnographic data became inherent signs of the works of "Natural School". In the novels and the poses of Goncharov, Herzen, the early work of Saltykov-Shchedrin was revealed by the evolution of the character, which is under the influence of the social environment. Of course, the style and language of the authors of the "Natural School" was largely different, but the commonality of the themes, the positivist oriented philosophy, the similarity of poetics can be traced in many of their works. Thus, the "Natural School" is an example of a combination of many principles of school education - certain temporary and spatial frameworks, the unity of aesthetic and philosophical installations, the generality of formal features, continuity with respect to the "leader", the presence of theoretical declarations.

Examples of schools in the modern literary process can serve as the "Lianozovskaya Group of Poets", "Order of the Curitu Mañaryist" and many other literary associations.

However, it should be noted that the literary process is not reduced only to the coexistence and struggle of literary groups, schools, trends and trends. To consider it in this way - it means to schematize the literary life of the era, to dew the history of literature, since with such a "directional" approach the most important individual features of the writer's creativity remain out of sight of the researcher seeking common, often schematic moments. Even the leading direction of any period, the aesthetic base of which was the platform for the artistic practice of many authors, cannot exhaust the entire variety of literary facts. Many prominent writers deliberately were part of the literary struggle, arguing their ideological, aesthetic and artistic principles outside the framework of schools, trends, leading directions of a certain era. Directions, flows, schools are, according to V. M. Zhirmunsky, "not a shelf or box", "for which we" expand "poets". "If the poet, for example, is a representative of the Romantic Epoch, this does not mean that there can be no realistic trends in his work." The literary process is the phenomenon of complex and diverse, therefore, to operate with such categories as "current" and "direction", it is necessary to be extremely careful. In addition to them, scientists use other terms when studying a literary process, such as style.

• Belinsky V. G. Full collected works: at 13 t. T. 10. M., 1956. P. 106.
• Zhirmunsky V. M. Introduction to literary studies. St. Petersburg., 1996. P. 419.

As noted earlier, there is no consensus among literary crituals on how to distinguish between the concepts of "artistic system", "literary direction" and "literary flow". More often, scientists are called "systems" "international literary community" (baroque, classicism, etc.), and the terms "direction" and "current" are used in a narrower sense.

The point of view of G.N. is quite common. Pospelova, who believed that literary current - ϶ᴛᴏ refraction in the work of writer and poets of certain public views (worldlyozenia, ideologies), and directions - These are writer groups arising from the generality of aesthetic views and defined artistic activities (expressed in treatises, manifestations, slogans, etc.). Flows and directions in this meaning of words - ϶ᴛᴏ facts of individual national literature(Theory of literature - M., 1978, p.134 - 140).

In other words, direction it is a literary concept that denotes a set of fundamental spiritual and most aesthetic principles characteristic of the creativeness of many writers, a number of groups, as well as those caused by these essential principles of coincidence and compliance of program-creative installations, themes, heat and styles.

According to Pospelova, literary direction It appears when a group of writer and a country and the epoch is combined on the basis of a certain creative program and creates its own works, focusing on its provisions. This contributes to greater creative organizedness and the completion of their works. But not the program principles that proclaims some kind of group writer, determine the features of their creativity, but, on the contrary, - ideological-artistic communitycreativity brings together writers and inspires them to awareness and proclaim the relevant program principles.

In European literature directions arise only in a new time.When artistic creativity acquires the relative independence and quality of the "art of the word", isolating from other non-counseled genres. The literature is authorulating a personal beginning, it becomes possible to express the author's point of view, choosing a vital and creative position. Renaissance realism, baroque, classicism, educational realism, sentimentalism, romanticism, critical realism, naturalism, symbolism, socialist realism are considered to be the directions in the history of European literature. The existence of these large directions in a number of national literatures is more or less generally accepted. The legitimacy of the separation of others - Rococo, predocant, neoclassicism, neoromantism, etc. - Causes disputes.

Directions are not closed, but open character; The transition from one to another suggests the intermediate forms (predocant in the European literature of the XVIII century). A new direction, coming to change the old, does not eliminate it immediately, and for a while coexists with him - between them there is a creative and theoretical controversy.

Alternation and the same sequence of directions in European literature allow them to consider them as an international phenomenon; However, this or that direction in each literature performs from this point of view as a national version of the corresponding pan-European model. The national-historical peculiarity of directions in individual countries is sometimes so much significantly that the assignment of them to a single type is problematic, and the typological community of classicism, romanticism, etc. - very conditional and relative. ᴀᴋᴎᴍᴀᴋᴎᴍ ᴏϭᴩᴀᴈᴏᴍ, when creating a general literary direction model, it is necessary to take into account the measure of typological community of its national forms - the fact that under the flag of one direction is often directions, high-quality various.

The emergence of literary directions in national literature does not mean that the writers necessarily belonged to this or that of them. There were also such writers who were not towering before programming their creativity did not create literary theories, and their creativity, it means that it is impossible to assign designations arising from any program provisions. Such writers do not belong to any direction. They also have, of course, some community of ideological world, created by certain circumstances of the social life of their country and the epoch, which determined the appropriate communityideological content of their works, and from here and the forms of its expression. So, the creativity of these writers also had some kind of social and historical pattern. A similar group writer -ey was, for example, in Russian literature - in the era of domination in it of the classic direction. It was formed by M. Chulkov, A. Ablessov, A. Izmailov and others. Such groups writer and the creativity of which is connected only ideologically artisticbut not a software generality, the science of literature does not give some "own names" like "classicism", "sentimentalism", etc.

According to Pospelova, the work of those group writers, which only possess ideological and artistic generality, it is necessary call literary flow.

This does not mean that the difference between literary directions and currents is only that representatives of the first, possessing ideological and artistic generality of creativity, created a creative program, and representatives of the second could not create it. The literary process is a more complex phenomenon. It often happens that the creativity of the writer group is the definition of the country and the epoch that created and proclaimed a single creative program possesses, however, only relativeand one-sidedcreative community that these writers are essentially belonging to one, but to two (sometimes more) literary flows.

For this reason, recognizing one creative program, they understand its position differently and apply them in different ways. There are, in other words, literary destinations that combine the work of writer different flows. Sometimes the writers of different, but something ideologically close to each other are programmatically combined in the process of their general ideological and artistic controversy with writers of other trends, sharply hostile to them.

ᴀᴋᴎᴍᴀᴋᴎᴍ ᴏϭᴩᴀᴈᴏᴍ, the direction records the generality of the deep spiritual and aesthetic foundations of the artistic content due to the unity of cultural and artistic tradition, the same type of world-up-minding writer and standing in front of them of vital problems, and ultimately the similarities of an epocal socio and cultural and historical situation. But the very world, that is, the attitude towards the problems, an idea of \u200b\u200bthe paths and methods of their permission, ideological and artistic concepts, ideals writer, belonging to one direction, are different.

Running from such positions to the concepts of literary directions and flow, Pospelov raises the question of their existence in national literature at various stages of their historical development. According to the researcher, at all the stages of the development of fiction (starting from the literature of ancient Greece), its source of all was the ideological worldview of writer, representing their work various social strength and from here often creating their works on the principle of antitheasses. For this reason, if in national literature until the XVII century did not have clearly decorated areas, then various currents in them were in all.

The flows existed, for example, in the ancient Greek literature of the classical era of its development. Attic democracy created in the V century BC. Brilliant dramaturgy, anti-acracratic in ideological orientation, authoritarian and mythological on ideals. It was one of the basic flows of antique literature of that era. But even earlier, from the VI century BC. In those ancient Greek polites where the slave-owned aristocracy was actively developed - and civilians in their content (works of Feognide from Meghar, the same choral lyrics of Tirtae in Sparta, Pyndara in the philas), and purely personal, in particular love (Alca and Sappo on Lesbosœœœœœœœœ E, Anaconte). It was another basic course or even the flow in the ancient literature of that era. The appeal of the writer and the militant attic democracy to the drama, and the aristocratic poets of other policies to the lyrics flowed out of the features of the creativity of those and others.

Roman classical literature created in the Soviet other social life conditions - in the early period of the existence of the imperial power, in the "Century of August," - was characterized by some duality of its trends. The poets of this time responded to the ideological and political requests of the new government and created literature to some extent official, referring to the genre of the civil or philosophical poem ("Eneida" Vergil, "Metamorphosis", Ovidi) in them and the mythologically authoritarian mindset was dominated . But along with this, the same poets, as well as other pains in our world-seeking "care" from the bustle and vicinity of the life of the Imperial Rome. The heavy atmosphere of the capital they opposed the imaginary joys of the shepherd life ("buculates" of Vergilia), the simplicity of the village work (his "Georgiki"), solitary pleasience of the benefits of Being ("Satires" Horace), the thrill of love experiences ("love poems" of Ovid) Or they idealized old, good morals ("OD" Horace, Elegy Tibulla). Here and manifested themselves, with a mythological authoritarianism of world-seed, the spontaneous humanistic aspirations of these poets.

Different currents can be identified over the subsequent development of literature. So, for example, in English romanticism, researchers allocate three currents: revolutionary (Byron, Shelly), conservative (Wordsworth, Kalridge. Sauti) and London (Kitts, Lee Hunt) romance. With regard to Russian romantics, they are talking about "philosophical", "psychological", "civil" currents. In Russian realism, some researchers distinguish the "psychological" and "sociological" current.

ᴀᴋᴎᴍᴀᴋᴎᴍ if literary flows existed in national literature from the very beginning of their historical life, then the literary directions were in them only at relatively late stages of development and internal basedidean-artistic contentliterature of certain trends. For this reason, not literary directions give life to literary flows and contain them in themselves, as some researchers believe, but on the contrary, the currents can be at some stage of their development a single direction, and before or later exist outside its limits. So, the literary course of Russian noble revolutionism began with creativity A.N. Radishcheva, who was not a romantic. Later, there were motifs of civil romance (Pushkin, Ryleev and others), and it entered the direction of romanticism along with poets and other, religious and romantic flow (Zhukovsky, Kozlov and others) (Pospelov G.N. Theory of Literature - M., 1987, p. 140 - 160).

Along with the terms "Direction" and "Current" for the characteristics of the combination of writer, the concept of " school"And" grouping ". Literary groups and schools assumes the immediate ideological and artistic proximity and the program-aesthetic unity of its participants ("Lake School" in English Romanticism, Parnas Group in France, "Natural School" in Russia, etc.).