Last thing decade XIX. The century opens in Russian, and in world culture a new stage. Within a quarter of a century - from the beginning of the 1890s before October 1917 - the literally all aspects of Russia's life have changed radically - economics, politics, science, technology, culture, art. Compared with public and to some extent, the literary stagnation of the 1880s, a new stage of historical and cultural development was distinguished by rapid dynamics and acute drama. By pace and depth of change, as well as on catastrophicity internal conflicts Russia at this time was ahead of any other country.

Therefore, the transition from the era of classical Russian literature to a new literary time was accompanied by a far from the peaceful nature of general cultural and intrality life, unexpectedly fast - by the standards of the XIX century - change of aesthetic landmarks, a fundamental update of literary techniques. Especially dynamic at this time, Russian poetry developed, again - after the Pushkin era - the generally released on an extercane cultural life countries. Later, the poetry of this pore was called the "Poetic Renaissance" or "Silver Century". After analogy with the concept of "Golden Age", traditionally denoted by the Pushkinsky period of Russian literature, this phrase initially was used to characterize the vertex manifestations of the poetic culture of the beginning of the 20th century - creativity A. Blok, A. White, I. Annensky, A. Akhmatova, O. Mandelstam and other brilliant wizard masters. However, gradually the term "silver age" began to determine the part of the entire artistic culture of Russia of the late XIX - the beginning of the 20th century, which was associated with the symbolism, aqmeeism, "neochestyanskaya" and partially futuristic literature. Today, many literary crituals made the definition of the "silver age" synonym the concept of "culture of the front of the ages", which, of course, inaccurately, as a number of significant phenomena of the binding of centuries (primarily related to revolutionary theories) can hardly be comparable to what was originally called The art of the silver century.

Newly compared to the XIX century was at the turn of the two centuries, above all, the globility of a person. Fasted understanding of the exhaustion of the previous era, the opposite assessments of socio-economic and general began to appear cultural perspectives Russia. The general denominator of ideological disputes that flared in the country by the end of the XIX century was the definition new era As the epochs of the Border Guard: the previous forms of life, labor, political organization of the Company, the system of spiritual values \u200b\u200bis resolutely revised. Crisis keyword Epochs, nomadic on the pages of journalistic and literary-critical articles (often used and close to the meaning of the word "revival", "Fracture", "Crossroads", etc.).

The artistic literature has quickly included in the discussion of the actual issues, traditionally for Russia, which has not stood aside from public passions. Its social bias manifested itself in the titles of works characteristic of that epoch. "Without the road", "on the turn" - calls his story V. Veresayev; "Sunset of the Old Century" - either by the headline of the novel chronicle A. Amphitheatres; "The last feature" - responds with his novel M. Arzybashev. The awareness of the crisisity of time, however, did not mean the recognition of his infertility.

On the contrary, most of the masters of the Word felt their epoch as the time of unprecedented accomplishments, when the value of the literature in the life of the country increases sharply. Because such a lot of attention began to be given not only to creativity, but also the ideological and public position Writers, their relationship with the political life of the country.

With all the difference in positions and views, there was something in a world of positions in the worldview, which brilliantly caught the outstanding connoisseur of Literature, Professor Semen Afanasyevich Hungarian in the preface to the three-volume "history of Russian literature XX century" (1914). The scientist noted that the uniting community of M. Gorky and individualist K. Balmont, Realista I. Bunin, Symbolists V. Brysov, A. Bloka and A. White with expressionist L. Andreev and Naturalist M. Arzybashev, Dog Simist-decadent F. Sologuba and optimist A. Kaprina was a challenge of traditions of ordinary, "aspiration in return, in the distance, deep, but only away from the postal plane of gray stagnation."

Another thing is that ways of development new literature Writers represented themselves in different ways. In the XIX century, Russian literature had a high degree of ideological unity. It developed a rather clear hierarchy of writer's tanks: on one or another stage it is not difficult to allocate masters who served as guidelines for a whole writing generation (Pushkin, Gogol, Nekrasov, Tolstoy, etc.). But the legacy of the 19th-20th centuries is not limited to the creativity of one or two dozen significant artists of the word and the logic of the literary development of the pore can not be reduced to a single center or the simplest scheme Signing each other directions. This legacy is a multi-tiered artistic realityIn which individual writing tartaries, as they would be outstanding, are only part of the grand whole.

Getting started to study the literature of the stroke of ages, do not do without a brief overview of the social background and the general cultural context of this period (the context is the environment, the external environment in which there is art).

Introduction

In Russia, the late 19th - early 20th centuries. in the period of "unheard of change" and "unprecedented turbines", scientific and technological progress and acute political cataclysms, there were deep and serious changes in art, identifying new and unique paths of its development.

On the one hand, the art of that time is a refusal of old artistic traditions, an attempt to creatively rethink the heritage of the past. Never before the artist was so free in his work - creating a picture of the world, he received a real opportunity to focus on his own taste and addiction.

The culture of the late 19th - early 20 centuries of multifaceted. Sometimes it seems to be a continuous pinch of styles, directions, flows and schools, at the same time interacting and configuring among themselves. Experienced shocks, war, change in social structure, the trends of the new values \u200b\u200band aspirations of the West, the increasing interest of society in science and art - all this greatly affected the development of the culture of the time. The tide of the creative energy, the appearance of new genres, the change and complication of the works of the new era, which is called the Silver Age.

This period is still of great interest both for professionals and ordinary art lovers. My goal is to consider in detail the literature in detail, art, architecture and theatrical art of that era, since these directions of culture give the most accurate understanding of the essence of the silver century. I would like to consider and classify the main flows, allocate from them specific genres And describe their brightest features. Also my task is to list the main cultural figures, contributed to the development of a particular type of art.

Literature of the late 19th-early 20th centuries

Symbolism

The beginning of the epoch of the silver century was made by symbols; Symbolism has become the first significant modernist course in Russia. All changes in literature, new schools and flows are partly under his influence, even those that are conflicted to him. In Russian symbolism there is no unity of concepts, he had no uniform school, nor a single style, he was expressed in the abundance of self-expression methods. And united the symbols of mistrust to everyday and banal, the desire to express their thoughts through the symbols and allegories, be it visual art or literature; The desire to betray their creation is even more foggy, ambiguous color.

Initially, Russian symbolism has the same roots as the western - "crisis of positive worldview and morality." The desire to replace morality and the logic of aesthetics, the provision that "beauty will save the world" became the basic principle of early Russian symbols, as opposed to the ideology of population. At the end of the 19th century, the intelligentsia and Bohemia, with some anxiety, taped into the future, not drowned anything good, perceived symbolism as a sip of fresh air. He became more and more popular, engaging more and more talented people, which, every possessing your unique look at things, and made symbolism so many-sided. The symbolists have become an expression expression on spiritual freedom, tragic premonition of future change, symbol of confidence in proven centuries-old values. The feeling of disadvantage and instability, fear of change and unknownness united such different philosophies and attitude towards people's lives. Symbolism is an amazing collection of many individuals, characters, intimate experiences and impressions that are stored deep in the soul of the poet, writer or artist. Only only a feeling of decline, nostalgic moods, melancholy combines many people in one.

Attokov symbolism in St. Petersburg stood Dmitry Merezhkovsky and his wife Zinaida Hippius, in Moscow - Valery Bryusov. The motifs of tragic closetness, abundance from the world, the volitional self-affirmation of the personality can be traced in the works of Hippius; social orientation, religious and mythological scenes - Merezhkovsky; The balance of the opposite, the struggle for life and humility before death permeates the work of Bruce. The poems of Konstantin Balmont become very popular, which declared his characteristic "search for compliance" with the symbolists between sound, meaning and color. Balmont's passion for sound wrinkles, colorful adjectives that displacing verbs, leads to the creation of almost "meaningless", according to ill-wishers, texts, but this phenomenon later leads to new poetic concepts.

A little later develops the course of junior symbols that created romantic colored circles in which, having exchanged experiences and ideas, they honed their skills. A. Blok, A. White, V. Ivanov and many others paid great attention to moral and ethical ideals, trying to combine the interests of society with their own.

Literature and art at this time experienced a stormy rise, old styles were reborn, new appeared, and it is impossible to determine exactly where the one ended and the other, the borders were essential and foggy, all the vitals in the air.

The history of symbolism is very tragic, as well, and the history of many other genres. At first, the symbolism was encountered more than cold - unadapted to Russian society, not related to the land and the people of the work were incomprehensible to wide masses, and practically raised to laughter. After a short period of heyday, the symbolists begin to form innovative trends with more landed and rigid principles. In the last decade, the symbolism was experiencing a crisis and decline. Part of the symbols did not adopt the 1917 revolution and were forced to immigrate from the country. Many continued to write, but symbolism inexorably faded. Those who remained in the country waiting for the rethinking of previous values. The symbolist has nothing to make a living in post-revolutionary Russia.

At the beginning of the 20s, several centers of Russian emigration were formed, including in Paris, Prague, Berlin, Harbin, Sofia. Taking into account the conditions of this or that country, the foundations of the cultural life of the Russian diaspora were formed. The culture of Russian emigration was based on the traditions of classical culture. With its task, these people considered the preservation and development of Russian culture. In the establishment of the spiritual life of the emigration, Russian newspapers played a prominent role, they were issued about hundreds. In countries such as Czechoslovakia, Bulgaria opened educational establishments Russian diaspora. In Berlin there good conditions To elaborate the works of emigrant authors. In the environment of foreign intelligentsia, various ideological and political trends arose, which reflected the search for the Renaissance of Russia and its culture, one of these flows - Eurasianism.

Complication of the international situation in the 30s has contributed to the resumption of disputes on the fate of Russia and the possibility of returning to their homeland in the medium of emigrants. Returned to the USSR writer A. Kookin, poetess M. Tsvetaeva. But the strengthened totalitarian system forced many to refuse the thought of returning home.

The last decade of the XIX century. Opens in Russian, and in world culture a new stage. Large fundamental natural science discoveries, including the theory of relativity of Albert Einstein, sharply embarked former ideas about the structure of the world, formed in the traditions of European education and based on judgments about unambiguous laws, on the fundamental principle of the predictability of a natural phenomenon. The repeatability and predictability of processes were considered as the generic properties of causality at all. On this basis formed positivistic principles of thinking, the XIX centuries dominated in world science. These principles applied to social sphere: The life of a person was understood as completely determined by external circumstances, a chain of existing reasons. Although not all in the life of a person managed to satisfactorily explain, it was implied that science would ever reach universal omniscience, it would be able to understand and subjugate the whole world to the human mind. New discoveries abruptly contradicted ideas about the structural completion of the world. The fact that first seemed stable, turned into an instability and endless mobility. It turned out that any explanation is not universally and requires add-ons - such the ideological consequence of the principle of complementarity, born in line with theoretical physics. Moreover, the idea of \u200b\u200bthe cognition of the world was previously considered an axiom.

The complication of ideas about the physical picture of the world was accompanied by revaluation of the principles of understanding of history. Previously, an unshakable model of historical progress, based on the ideas about the linear dependence of the causes and consequences, was replaced by an understanding of the convention and the approximity of any historosophical logic. The crisis of historical ideas was primarily expressed in the loss of a universal point of reference, a particular ideological foundation. The most different theories appeared public Development. In particular, he received widespread marxism, making a bet on the development of industry and the emergence of a new revolutionary class - a proletariat free from the property, jointly to the terms of general labor in the team and is ready to actively deal with social justice. In the political sphere, this meant a refusal to enlighten the early and terrorism of late populists and the transition to the organized struggle of the masses - up to the violent overthrow of the system and establishing the dictatorship of the proletariat over all other classes.

On the turn XIX.-XX centuries. the thought of a person not only with a rope, but also able to redo the era, to create a story, in addition to the philosophy of Marxism, develops in the work of M. Gorky and his followers, persistently nominated for the forefront of a person with large letters, land owner. The favorite Heroes of Gorky were the Novgorod Semi-Lady Vaslayev Vaslayev merchant and biblical character of Job, who had thrown a challenge to God himself. Gorky believed that revolutionary activity on the restructuring of the world converts and enriches inner world man. So, the heroine of his novel "Mother" (1907) Pelagia Nilovpa, becoming a member revolutionary movement, experiences a maternal sense of love not only to his son, but also to all oppressed and powerless people.

The Bunlet began more anarchically in the early poetry of V. V. Mayakovsky, in verses and poems V. Khlebnikov, A. N. Klycheykh, D. D. Burluk, opposing (at least in manifestations and declarations), ideals of the consumption of inspired materialist industrial utopias.

Another big group of writers, making sure tragic events March 1, 1881 (killing of the Tsar-Liberator) and especially after the defeat of the 1905 revolution in the futility of violent ways to influence society, came to the idea of \u200b\u200bspiritual transformation, let the slow but consistent improvement of the inner world of man. The Pushkin idea of \u200b\u200bthe internal harmony of man became a guiding worldview star for them. They considered the writers of the afternoon pore in spirit to be in spirit - N. V. Gogol, M. Yu. Lermontova, F. I. Tyutcheva, F. M.Dostoevsky, who felt the tragedy of the destruction of world harmony, but the growing restoration in the future .

It was these writers who saw in pushkin epoch golden age domestic culture and, taking into account the cardinal changes of the sociocultural context, they sought to develop its traditions, realizing the entire dramatic complexity of such a task. And although the culture of the bond centuries is much more contradictory and internally conflicted than the culture of the first halves XIX. in., new literary epoch Receive later (in the memoiristics, literary criticism and journalism of Russian emigration of 1920-1930s.) Bright appraisal name - " silver Age". This historical and literary metaphor connecting the Literature began the beginning of the century with xIX literature c., in the second half of the XX century. It will acquire the terminological status and will be distributed, in fact, on all literature of the windows of the ages: it is so that in our time it is customary to refer to the epoch M. Gorky and A. A. Bloka, I. I. Bunin and A. A. Akhmatova. Although the named writers were very differently looked at the world and the person in him, it was and something uniting them: the awareness of the crisis, the transitionality of the era that should have brought russian Society To new horizons of life.

Pluralism of political and philosophical views, separated by different writers, led to cardinal change common picture artistic directions and flows. Former smooth stadium, when, for example, classicism in the literature inferior to sentimentalism, and he, in turn, was replaced by romanticism; When at each stage of the history of the literature, a dominant situation took some one direction, "such a stagnation went into the past. Now simultaneously there were different aesthetic systems.

In parallel, and, as a rule, in the struggle with each other, realism and modernism developed, the largest literary directions, while realism was not uniform in the style of attitude, but was a complex complex of several "realizations" (each type requires an additional reference definitions). Modernism, in turn, was distinguished by extreme internal instability: various flows and groupings were continuously transformed, arose and disintegrated, united and differentiated. The new situation has created the ground for the most unexpected combinations and interactions: the work of the work appeared in style in style, there were short-lived associations who were trying to combine the principles of realism and modernism in their artistic practice. That is why in relation to the art of the beginning of the XX century. The classification of phenomena based on "directions" and "flows" is obviously conditional, non-absolute.

"All Greece and Rome fought only a literary work: schools, in our sense, was not at all! And as rose. The literature actually is the only school of the people, and it may be the only and enough school ... "V. Rozanov.

D. S. Likhachev "Russian literature ... has always been a conscience of the people. Her place B. public Life Countries have always been honorable and influential. She brought up people and sought to the fair reorganization of life. " D. Likhachev.

Ivan Bunin The word silent the tombs, mummies and bones, - only the word life is given: from the ancient darkness, on the world graveyard, only letters sound. And we have no other tenor! He will be able to take care of at least a measure of the forces, in the days of the evil and suffering, our gift is immortal - speech.

general characteristics The epoch is the first question that arises when contacting the topic "Russian literature of the 20th century" - from which moment of counting the XX century. According to the calendar, from 1900 - 1901. ? But it is obvious that a purely chronological frontier, although it is significant in itself, almost nothing means in the sense of delimitation of the epoch. The first turn of the new century is the revolution of 1905. But the revolution passed, some calm came - until the First World War. Ahmatov recalled about this time in the "poem without a hero": but on the embankment legendary, not the calendar, the real twentieth century was approaching ...

At the turn, the age of a person who understood that the preceding epoch was irretrievably. The socio-economic and general cultural perspectives of Russia began to be estimated at all. The new era was determined by contemporaries as "border". The previous form of forms of life, labor, community-polytic organization became the story. Radically revised the established, which seemed before the unchanged, system of spiritual values. It is not surprising that the edge of the era symbolized the word "crisis." This "fashionable" word nomaded on the pages of journalistic and literary-critical articles on par with loved ones by the words "Revival", "Fracture", "Crossroads", etc. Innokenty Annensky

Fiction Also not stood aside from public passions. Her social bias clearly manifested itself in the characteristic headlines of works - "without a road", "on the turn" V. Veresaev, the "Sunset of the Old Century" A. Amphitheatrov, "The last feature" M. Arzybashev. On the other hand, most of the creative elite felt their epoch as the time of unprecedented accomplishments, where the literature was given a significant place in the history of the country. Creativity as if led to the background, giving way to the author's worldview and public position of the author, his communications and participation in Mikhail Arzbashev

the end XIX century exposed the deepest crisis phenomena in the economy Russian Empire. The reform of 1861 did not solve the fate of the peasantry that dreamed of "earth and will". This situation led to the emergence of a new revolutionary teaching in Russia - Marxism, which made a bet on the growth of industrial production and a new progressive class - proletariat. In politics, this meant the transition to the organized struggle of the cohesive mass, the result of which was to be the violent overthrow of the state system and establishing the dictatorship of the proletariat. The former methods of populists and poporrorist populists finally moved into the past. Marxism offered radically different scientific method, thoroughly designed theoretically. It is not by chance "Capital" and other works by Karl Marx became desktop books for many young people, in the thoughts sought to build the perfect "kingdom of justice."

At the turn of the XIX and XX centuries, the thought of a Buntar man, mansionide, capable of transforming the era and change the course of history, is reflected in the philosophy of Marxism. This most brightly appears to the work of Maxim Gorky and his followers, persistently nominated for the forefront of a person with a capital letter, the owner of the Earth, a fearless revolutionary, challenging not only public injustice, but also the Creator himself. Buntari-heroes of novels, the agent and play of the writer ("Foma Gordeyev", "Mother", "Mother") absolutely and irrevocably reject the Christian humanism of Dostoevsky and Tolstoy about suffering and cleansing them. Gorky believed that revolutionary activities in the name of the reorganization of the world converts and enriches the inner world of man. Illustration for the novel M. Gorky "Thomas Gordeyev" Artists of Kukryniks. 1948 -1949

Another group of cultural figures cultivated to the idea of \u200b\u200bthe spiritual revolution. The reason for this was the murder of Alexander II on March 1, 1881 and the defeat of the 1905 revolution. Philosophers and artists called for internal human improvement. In the national peculiarities of the Russian people, they were looking for ways to overcome the crisis of positivism, whose philosophy was distributed at the beginning of the 20th century. In his quest, they sought to find new development paths that could transform not only Europe, but the whole world. At the same time, an incredible, unusually bright takeoff of Russian religious philosophical thought. In 1909, a group of philosophers and religious publicists, including N. Berdyaev, S. Bulgakov, and others, released the philosophical and publicistic compilation "Milestones", whose role in the intellectual history of Russia of the XX century is invaluable. "Milestones" and today seem to us as if sent from the future, "this will tell you another great thinker And the consequencer Alexander Solzhenitsyn. "Milestones" revealed the danger of mindless ministry in any way to theoretical installations, exposing the moral inadmissibility of faith in the universal importance of public ideals. In turn, they criticized the natural weakness of the revolutionary path, emphasizing his danger to the Russian people. However, the society's blindness turned out to be much more terrible. Nikolay Alexandrovich Berdyaev

First World War Wrapped for a catastrophe country, pushing it to an imminent revolution. February 1917 and the exhaustion that followed him led to the October coup. As a result, Russia gained a completely different person. Throughout the end of the XIX - early XX century, the main background of the literary development was tragic social contradictions, as well as a double combination of difficult economic modernization and revolutionary movement. Rapid pace There were changes in science, the philosophical ideas about the world and man changed, close to the literature of art were growing rapidly. Scientific I. philosophical views In certain stages of the history of culture, they drastically affect the creators of the words, which sought to reflect the paradoxes of time in their works.

The crisis of historical ideas was expressed in the loss of a universal point of reference, one or another ideological foundation. No wonder the great German philosopher and philologist F. Nietzsche said his key phrase: "God died." She speaks of the disappearance of a strong ideological support, denoting the offensive of the era of relativism, when the crisis of faith in the unity of the world order reaches its climax. This crisis has largely contributed to the search for Russian philosophical thought, which was experiencing an unprecedented flourishing at that time. V. Solovyov, L. Shestov, N. Berdyaev, S. Bulgakov, V. Rozanov and many other philosophers have had the strongest influence on the development of different spheres of Russian culture. Some of them showed themselves and in literary creativity. An important thing in the Russian philosophy of that time was to appeal to the gnoseological and ethical issues. Many thinkers focused their attention on spiritual world Personality, treating life in such close literature categories as life and fate, conscience and love, insight and delusion. Common efforts, they led a person to understand the diversity of real, practical and internal, spiritual experience.

The paintings of art directions and flows changed dramatically. Former smooth transition from one stage to the other, when at a certain stage of the literature dominated any one direction, went into oblivion. Now different aesthetic systems existed simultaneously. In parallel with each other, realism and modernism developed - the largest literary directions. But at the same time, realism was a complex complex of several "realizations". Modernism was also distinguished by extreme internal instability: various flows and groupings were continuously transformed, arose and disintegrated, united and differentiated. Literature as it were "broken." That is why in relation to the art of the beginning of the 20th century, the classification of phenomena based on "directions and flows" is obviously conditional, non-absolute.

The specific sign of the culture of the boring of centuries is an active interaction of various types of art. The flourishing is experiencing theatrical art at this time. The opening in 1898 of the Art Theater in Moscow became the event of a large cultural meanings. On October 14, 1898, the first presentation of the play by A. K. Tolstoy "Tsar Fyodor Johnovich" took place on the stage of the Hermitage Theater. In 1902, the funds of the largest russian patrons S. T. Morozova was built in Moscow the building of the Art Theater (architect F. O. Shechtel). At the origins of the new theater stood K. S. Stanislavsky and V. I. Nemirovich. Danchenko. In his speech facing a troupe at the opening of the theater, Stanislavsky especially emphasized the need for democratization of the theater, bringing him with the life of the true birth of artistic, a truly new theater took place in the implementation of the Czech "seagull" in December 1898, which since then is Theater emblem. Modern drama Chekhov and Gorky amounted to the basis of his repertoire in the first years of existence. Principles of scenic art developed Art Theater. and who were part of the overall struggle for the new realism, had a great influence on theatrical life Russia as a whole.

At the end of the XIX - early XX century, Russian literature became aesthetically multilayer realism at the turn of the centuries remained a large-scale and influential literary direction. So, Tolstoy and Chekhov lived in this era. The most bright dating among new realists had writers who united in the 1890s in the Moscow circle "Wednesday", and at the beginning of the 1900th, which had a circle of permanent authors of the publishing house "Knowledge", the actual leader was M. Gorky. IN for different years L. Andreev, I. Bunin, V. Veresov, N. Garin-Mikhailovsky, A. Kubrin, I. Shmelev and other writers. The significant impact of this group of writers was explained by the fact that she had the most fully inherited the traditions of the Russian literary heritage of the XIX century. Especially important for the next generation of realists was the experience of A. Chekhov. A. P. Chekhov. Yalta. 1903

Themes and heroes of realistic literature Thematic range of works of realists of the boring of centuries is undoubtedly wider, in contrast to their predecessors. For most writers at this time, the thematic constancy is uncharacteristic. The rapid changes in Russia forced them to differently approach the themes, invade the previously protected layers of topics. Noticeably updated in realism and typology of characters. Externally, writers followed traditions: in their works it was possible to find easily recognizable types of "small man" or an intellectual, who survived the spiritual drama. Characters got rid of sociological averaged, became more diverse psychological peculiarities and the worldview. "Soul Motion" of the Russian man's constant motive of prose I. Bunin. He one of the first in realism began to use foreign material in his works ("Brothers", "Dream Chang", "Mr. from San Francisco"). The same became characteristic for M. Gorky, E. Zamyatina and others. Creativity A. I. Kurin (1870 -1938) is extremely widely widely in a variety of subjects and human characters. Heroes of Her Mattering and Stories of Soldiers, Fishermen, Spies, Loaders, Konokrad, Provincial Musicians, Actors, Circarati, Telegraphists

Genres I. style features Realistic prose was significantly updated at the beginning of the 20th century the genre system and the stylistics of realistic prose. The main place in the genre hierarchy was taken at this time the most mobile story and essay. Roman has practically disappeared from the genre repertoire of realism, giving way to the story. Starting with the creativity of A. Chekhov, the importance of the formal organization of the text has noticeably increased in realistic prose. Some techniques and elements of the form got a great autonomy in an artistic strict product. So, for example, an artistic part was used a variety. At the same time, the plot increasingly lost the importance of the main composition And he began to play a subordinate role. In the period from 1890 to 1917, three literary flows declared themselves, symbolism, acmeism and futurism, which amounted to the basis of modernism as literary direction

Modernism B. artistic culture Rowing centuries was a complex phenomenon. Inside, it is possible to distinguish several currents other than their aesthetics and software settings (symbolism, acmeism, futurism, egofulurism, cubism, suprematism, etc.). But in general philosophical and aesthetic The principles of modernist art opposed the realism, especially the realistic art of the XGH century. However, the art of modernism on its Literary process the turn of the centuries in value is the artistic and moral much determined by the general, for the majority large artists The desire for our richest cultural heritage and above all freedom from aesthetic regulations, overcoming not the scream. The silver kopk of Russian culture. Only literary stamps of the previous era, but also new art canons who have made a literary environment in the nearby for them. Literary school (Current) and creative individuality are two key categories of the literary process of the beginning of the 20th century. To understand the creativity of one or another author, the knowledge of the nearest aesthetic context is the context of the literary direction or grouping.

The literary process of the batch of centuries was largely determined by the general, for most major artists, the desire for freedom from aesthetic regulation, to overcoming not only the literary stamps of the previous era, but also new artistic canons who have developed in the next literary environment for them. The literary school (current) and creative personality are two key categories of the literary process of the beginning of the 20th century. To understand the creativity of one or another author, the knowledge of the nearest aesthetic context is the context of the literary direction or grouping.

In the late 19th - early 20th century, all parties of Russian life are radically transformed: politics, economics, science, technology, culture, art. There are different, sometimes directly opposite, assessing the socio-economic and cultural prospects for the development of the country. The overall feeling of the advent of the new era, carrying the change of the political situation and the revaluation of the former spiritual and aesthetic ideals. Literature could not not respond to indigenous changes in the life of the country. The revision of artistic landmarks, cardinal update literary techniques. At this time, Russian poetry is especially dynamically developing. A little later, this period will be called the "Poetic Renaissance" or the Silver Age of Russian Literature.

Realism at the beginning of the 20th century

Realism does not disappear, it continues to develop. L.N. is still actively working. Tolstoy, A.P. Chekhov and V.G. Korolenko, M. Gorky, I.A. Bunin, A.I. Kubrin ... As part of the aesthetics of realism, a bright manifestation was found creative individuality Writers 19 centuries, their civil position and moral ideals - the realism equally affected the views of the authors who divide Christian, primarily Orthodox, world-world, - from F.M. Dostoevsky to I.A. Bunina, and those for whom this world is alien - from V.G. Belinsky to M. Gorky.

However, at the beginning of the 20th century, many aesthetics of realism were no longer satisfied - new aesthetic schools begin to emerge. Writers are combined into different groups, put forward creative principles, participate in the controversy - the literary flows are approved: symbolism, acmeism, futurism, immudy, etc.

Symbolism at the beginning of the 20th century

The Russian symbolism, the largest of the modernist currents, was born not only as a literary phenomenon, but also as a special worldview, connecting the artistic, philosophical and religious principle. The date of the new aesthetic system is considered to be 1892 gobles when D.S. Merezhkovsky made a report "On the reasons for decline and about the new currents of modern Russian literature." In it were proclaimed the main principles of future symbolists: " mystical content, Symbols and expansion of artistic impressionability. " The central place in aesthetics of the symbolism was allocated to the symbol, the image having a potential inexhaustibility of meaning.

The rational knowledge of the world symbolists opposed the design of the world in creativity, knowledge of the surrounding through the art, which V. Bryusov defined as "the might of the world by other, not rational ways." In the mythology of different peoples, symbolists found universal philosophical models with which comprehensive depth bases human soul and the solution of spiritual problems of modernity. With special attention, representatives of this direction were related to the heritage of Russian classical literature - New interpretations of Creativity Pushkin, Gogol, Tolstoy, Dostoevsky, Tyutchev have been reflected in the works and articles of symbols. Symbolism gave culture the names of outstanding writers - D. Merezhkovsky, A. Blok, Andrei White, V. Bolsova; Aesthetics symbolism had a huge impact On many representatives of others literary flows.

Axism at the beginning of the 20th century

Akmeism was born in Lona symbolism: a group of young poets first founded literary association "The shop of poets", and then proclaimed themselves with representatives of the new literary flow - aqmeism (from Greek. AKME - higher degree something, flourishing, vertex). His main representatives - N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam. Unlike the symbolists seeking to know the unrecognizable, comprehend the highest entities, the ameists again turned to the value human life, variety of bright earthly world. The main requirement for the artistic form of works was the picturesque form of images, an derived and accurate composition, a stylistic equilibrium, the deposit of parts. The most important place in the aesthetic system of values \u200b\u200bof the amethers drew memory - categories associated with the preservation of the best domestic traditions and world cultural heritage.

Futurism in the early 20th century

Derogatory reviews about preceding and modern literature They gave representatives of another modernist flow - futurism (from Lat. Futurum - the future). Its representatives considered the existence of this literary phenomenon of his representatives to the atmosphere of the Epatage, call to the public taste, literary scandal. Futurist thrust for mass theatrical actions with dressing up, painting people and hands was caused by the idea that poetry should get out of books on the square, to sound in front of the audience the listeners. Futurists (V. Mayakovsky, V. Khlebnikov, D. Burluk, A. Krichynye, E. Guro, etc.) put forward the world's transformation program with the help of new art abandoning the heritage of predecessors. At the same time, in contrast to representatives of other literary flows, in justification of creativity, they relied on fundamental sciences - mathematics, physics, philology. The formal-style features of the poetry of futurism was the update of the meaning of many words, the wording, the refusal of punctuation marks, the special graphic design of the poems, the depopetization of the language (the introduction of vulgarianism, technical terms, the destruction of the usual boundaries between "high" and "low").

Output

Thus, in the history of Russian culture, the beginning of the 20th century is noted by the emergence of diverse literary flows, various aesthetic views and schools. However, original writers, genuine artists overcome the narrow framework of the declarations, created highly artistic works, who survived their era and entered the treasury of Russian literature.

An essential feature of the beginning of the 20th century was universal traction to culture. Not to be at the premiere of the play in the theater, not attend the evening of the original and already sensible poet, in literary living rooms and salons, not to read just released poetic book It was considered a sign of a bad taste, not limited, not fashionable. When culture becomes a fashionable phenomenon - it good sign. "Fashion for culture" - no new phenomenon for Russia. So it was in time V.A. Zhukovsky and A.S. Pushkin: Recall " Green lamp"And" Arzamas "," Society of Russian Literature Lovers ", etc. At the beginning of the new century, exactly after a hundred years, the situation was practically repeated. The Silver Age came to change the century of gold, supporting and maintaining the connection of times.