Where did the term "Silver Age poetry" come from? What masterpieces were born at this time? What experiments did some poets resort to? How did you try to get attention? Why are so many of them forgotten? You will learn about all this by reading this article.
Intelligent Explosion
Russian poetry of the late 19th - early decades of the 20th century is known as the poetry of the Silver Age. The term as such arose after the end of this period, in the second half of the last century. The name was formed by analogy with the term Golden Age, that is, the Pushkin era. And this is deeply symbolic, because the Silver Age of Russian poetry gave the world many bright names. The names of Anna Akhmatova, Osip Mandelstam, Nikolai Gumilyov, Marina Tsvetaeva, Boris Pasternak and others are associated with the poetry of the Silver Age.
Numerous and diverse literary movements of the turn of the century as a whole can be called in one word - modernism (from the French "newest, modern"). In fact, modernism was very diverse, there were various currents in it. The most iconic of them are symbolism, acmeism, futurism, imagism. There are also peasant poetry, satirical poetry and other currents.
Art Nouveau in both European and Russian poetry was distinguished by the search for new forms and means of expression. It was a time of creative search, which often led to striking finds. But far from all poets have passed the test of time, the names of many of them are known today only to philologists. Many truly talented poets eventually went beyond the narrow confines of one or another literary movement.
At the turn of the century, Russia experienced a strong intellectual upsurge, which was expressed primarily in poetry and philosophy. The famous philosopher Nikolai Berdyaev wrote about this time as follows: “Much of the creative upsurge of that time was included in the further development of Russian culture and is now the property of all Russian cultured people. But then there was intoxication with a creative upsurge, novelty, tension, struggle, challenge ... "
The poets of the Silver Age were greatly influenced by the philosophical teachings of Berdyaev himself, as well as Solovyov, Fedorov, Florensky with their idea of \u200b\u200bthe eternal divine beauty, the Soul of the World, in merging with which they saw salvation for all mankind, as well as Eternal Femininity. Let's take a look at each trend.
Symbolism. Hints and halftones
It was the first and very significant modernist movement. It originated in France, later spread to Russia. It is typical not only for literature, but also for music and painting.
There are two stages in this literary direction. The first is the "senior symbolists" (Valery Bryusov, Zinaida Gippius, Dmitry Merezhkovsky, Konstantin Balmont and others). Their debut took place in the 1890s. A few years later, symbolism was replenished with new forces and new aesthetic views. "Junior Symbolists" were Alexander Blok, Vyacheslav Ivanov, Andrey Bely.
According to Vyacheslav Ivanov, poetry is "the cryptography of the inexpressible". The value of creativity was seen in understatement, hints, and the symbol was supposed to convey the secret meaning.
Remember the famous Blok lines from the cycle "Poems about the Beautiful Lady", filled with symbols?
I enter dark temples
I perform a poor ritual.
There I am waiting for the Beautiful Lady
In the flickering of red lamps.
In the shadow of a tall column
I tremble at the creak of doors.
And he looks into my face, illumined,
Only an image, only a dream about Her...
In addition to the symbol, which conveys the transience of being, the Symbolists attached great importance to music, therefore verbal and musical consonances can be traced in their poems. Symbolism is characterized by broad associations with the culture of previous eras.
Symbolism has enriched Russian poetry with real discoveries: the poetic word has become multi-valued, new facets and additional shades have opened up in it. Symbolists used combinations of certain sounds to create an image (the so-called alliteration), as well as a variety of rhythms. An example of alliteration in Balmont is the deliberate repetition of the sound "l":
The oar slipped from the boat,
The coolness is gentle.
But all of the above refers to the external form of the verse. And most importantly, of course, the inner content. The Symbolists raised the question of the role of the artist (in the broadest sense of the word) in the life of society in a new way, made art more personal.
Acmeism. Reached the top
The term comes from the Greek akme, which means "the peak, the highest degree of something." If the symbolists gravitated towards the super-real, the ambiguity of images, then the acmeists - towards poetic accuracy, a chased artistic word. Acmeists were apolitical, topical problems did not penetrate into their work.
The main value for this literary trend was culture, which they identified with the universal memory. Therefore, acmeists often turn to mythological images, plots (for example, Gumilyov - “From a bouquet of whole lilacs ...” and many other poems).
In addition, they were guided not by music, like the Symbolists, but by architecture, painting, sculpture - that is, what implies three-dimensionality, spatiality. Acmeists loved colorful, picturesque, even exotic details.
This literary trend included many talented poets-friends. They called their association "Poets' Workshop". And this was preceded by a scandal. In 1911, in the salon of Vyacheslav Ivanov, where, as usual, writers gathered to present their poems and discuss other people's, a conflict broke out. Several poets, offended by criticism, simply left. Among them was Nikolai Gumilyov, who did not like the criticism of his "Prodigal Son". So, in contrast to the "Academy of Verse", the "Workshop of Poets" was born.
The main rule of the acmeists is the clarity of the poetic word, devoid of something vague. Acmeism as a literary trend brought together very talented and original poets - Gumilyov, Akhmatova, Mandelstam. Others from the "Poets' Workshop" did not reach such a high level.
Let us recall the penetrating female lyrics of Akhmatova. Take at least these lines:
She clasped her hands under a dark veil...
"Why are you pale today?" —
From the fact that I am tart sadness
Got him drunk.
How can I forget? He walked out, staggering
Mouth twisted painfully...
I ran away without touching the railing
I followed him to the gate.
Breathless, I shouted: "Joke
All that has gone before. If you leave, I'll die."
Smiled calmly and creepily
And he said to me, "Don't stand in the wind."
The fate of many poets of the Silver Age, including Anna Akhmatova, was not easy. The first husband, Nikolai Gumilyov, was shot in 1921; the second, Nikolai Panin, died in 1953 in the camp; son, Lev Gumilyov, was also imprisoned for many years.
Futurism. At the dawn of PR companies
The name of this literary movement comes from the Latin word futurum, which means "future".
If acmeism originated in Russia, then Italy is considered the birthplace of futurism. The ideologist of futurism, Marinetti, saw the task of futurism in this: "daily to spit on the altar of art." Wow statement, right? However, isn't that what many so-called writers and artists do today, who pass off frank disgustingness as a work of art?
The Futurists set an ambitious goal - to create the art of the future, and they denied all previous artistic experience. The poets composed manifestos, read them from the stage, then published them. Often meetings with poetry lovers ended in disputes that turned into fights. Thus, this literary direction gained fame. Familiar, as they say now, a PR move, isn't it? Take at least politicians or representatives of show business who know what exactly will attract the attention of the public ...
The words of the futurists were located completely freely, any logical connections were often violated, it was generally it is not clear what the poet was talking about, what the poet wanted to say.
In fairness, we note that outrageousness was used by representatives of all modernist movements. At the same time, among the futurists, he was in the first place and manifested itself in everything - from the external appearance (remember Mayakovsky's performances in his famous yellow blouse) and to the very creativity.
Representatives of this literary trend in Russia are Vladimir Mayakovsky, Velimir Khlebnikov, David Burliuk, Alexei Kruchenykh and others. By the way, most of them were also artists, created posters, illustrations for books.
The main features of futurism: rebelliousness, bold experiments in versification, the emergence of author's neologisms - that is, words that no one had used before, various verbal experiments.
Here is one of Khlebnikov's poems:
Bobeobi sang lips
Veomi sang eyes,
Pieeo eyebrows sang,
Leeeey - the appearance was sung,
Gzi-gzi-gzeo the chain was sung.
So on the canvas of some correspondences
Outside the extension lived the Face.
It is clear that such lines have remained an experiment. But Mayakovsky became a phenomenon in poetry, including in versification.
His famous "ladder", that is, a special arrangement of short lines, is still popular today.
Imagism. Passion for young Yesenin
This literary trend, born in the West, arose in Russia after 1917. The name comes from the word image, which is in both English and French and means "image".
The first creative evening of the Imagists took place on January 29, 1919. A declaration with the basic principles of the new direction was read there, and it was signed by Sergei Yesenin, Anatoly Mariengof, Rurik Ivnev and Vadim Shershenevich, as well as two artists. The declaration emphasized that the tool of the master of art is an image and only an image. Say, he, like naphthalene, saves the work from the moths of time.
Here are the lines of Mariengof:
Language
Does not knit in verse
silver bast,
The pen breaks - the poet's faithful staff.
Come and take away the pain. I'll go barefoot.
Come to take away.
The Imagists declared that the content in a work of art is a completely unnecessary thing, if only an image were found. But again, there was more outrageousness in such statements. After all, the desire for figurativeness of the artistic word was, is and will be in any poet, no matter what direction he considers himself to be.
As we have already said, many talented poets only at first entered certain literary movements and associations, and then found their own way and style in art. So, for example, Sergei Yesenin in 1921 noted that Imagism is antics for the sake of antics, and broke with this trend.
Russia, the small homeland, folklore, peasant worldview became the basis of the unsurpassed Yesenin poetry.
Many literary critics single out peasant poetry among the literary trends, whose representatives are, in addition to Yesenin, Demyan Bedny, Nikolai Klyuev and others.
One of the directions of poetry at the turn of the century is satirical poetry (Sasha Cherny, Arkady Averchenko and others).
As you can see, the poetry of the Silver Age was very diverse, including numerous literary trends. Something is irrevocably a thing of the past - just like a failed experiment. But the work of Akhmatova, Gumilyov, Mandelstam, Tsvetaeva, Pasternak (the last two, by the way, were outside of specific literary trends) and some other poets really became a bright event in Russian literature, and also had a significant impact on many contemporary poets.
Many poems of poets of the Silver Age are still on everyone's lips today. Take at least the unsolved masterpiece of Tsvetaeva , which is difficult to explain from the standpoint of logic,“I like that you are not sick of me ...” - a romance known to everyone from the film “Enjoy Your Bath ...”.
The fate of a number of poets of the Silver Age was tragic. The reasons are both personal and social. These poets have gone through revolutions, wars, repressions, emigration, preserving the high spirit of true poetry. The work of many of them became known to a wide circle of readers only in the 90s of the last century, since for a long time they were considered prohibited.
In the late 19th and early 20th centuries, all aspects of Russian life were radically transformed: politics, economics, science, technology, culture, and art. There are various, sometimes directly opposite, assessments of the socio-economic and cultural prospects for the development of the country. The general feeling is the onset of a new era, which brings a change in the political situation and a reassessment of the old spiritual and aesthetic ideals. Literature could not but respond to the fundamental changes in the life of the country. There is a revision of artistic guidelines, a radical renewal of literary techniques. At this time, Russian poetry is developing especially dynamically. A little later, this period will be called the "poetic renaissance" or the Silver Age of Russian literature.
Realism in the early 20th century
Realism does not disappear, it continues to develop. L.N. is also actively working. Tolstoy, A.P. Chekhov and V.G. Korolenko, M. Gorky, I.A. Bunin, A.I. Kuprin ... Within the framework of the aesthetics of realism, the creative individualities of the writers of the 19th century, their civic position and moral ideals found a vivid manifestation. Dostoevsky to I.A. Bunin, and those for whom this worldview was alien - from V.G. Belinsky to M. Gorky.
However, at the beginning of the 20th century, many writers were no longer satisfied with the aesthetics of realism - new aesthetic schools began to emerge. Writers unite in various groups, put forward creative principles, participate in polemics - literary movements are affirmed: symbolism, acmeism, futurism, imaginism, etc.
Symbolism in the early 20th century
Russian symbolism, the largest of the modernist movements, was born not only as a literary phenomenon, but also as a special worldview that combines artistic, philosophical and religious principles. The date of the emergence of a new aesthetic system is considered to be 1892, when D.S. Merezhkovsky made a report "On the Causes of the Decline and New Trends in Modern Russian Literature". It proclaimed the main principles of the future symbolists: "mystical content, symbols and the expansion of artistic impressionability." The central place in the aesthetics of symbolism was given to a symbol, an image that has a potential inexhaustibility of meaning.
To the rational cognition of the world, the Symbolists opposed the construction of the world in creativity, the cognition of the environment through art, which V. Bryusov defined as "comprehension of the world in other, non-rational ways." In the mythology of different peoples, the Symbolists found universal philosophical models with the help of which it is possible to comprehend the deep foundations of the human soul and solve the spiritual problems of our time. Representatives of this trend also paid special attention to the heritage of Russian classical literature - new interpretations of the work of Pushkin, Gogol, Tolstoy, Dostoevsky, Tyutchev were reflected in the works and articles of the Symbolists. Symbolism gave culture the names of outstanding writers - D. Merezhkovsky, A. Blok, Andrei Bely, V. Bryusov; the aesthetics of symbolism had a huge impact on many representatives of other literary movements.
Acmeism in the early 20th century
Acmeism was born in the bosom of symbolism: a group of young poets first founded the literary association "Poets' Workshop", and then proclaimed themselves representatives of a new literary trend - acmeism (from the Greek akme - the highest degree of something, flourishing, peak). Its main representatives are N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam. Unlike the symbolists, who seek to know the unknowable, to comprehend the higher essences, the acmeists again turned to the value of human life, the diversity of the bright earthly world. The main requirement for the artistic form of the works was the picturesque clarity of images, verified and precise composition, stylistic balance, and sharpness of details. The acmeists assigned the most important place in the aesthetic system of values to memory - a category associated with the preservation of the best domestic traditions and world cultural heritage.
Futurism in the early 20th century
Derogatory reviews of previous and contemporary literature were given by representatives of another modernist trend - futurism (from Latin futurum - future). A necessary condition for the existence of this literary phenomenon, its representatives considered an atmosphere of outrageousness, a challenge to public taste, a literary scandal. The futurists' craving for mass theatrical performances with dressing up, painting faces and hands was caused by the idea that poetry should come out of books into the square, sound in front of spectators-listeners. Futurists (V. Mayakovsky, V. Khlebnikov, D. Burliuk, A. Kruchenykh, E. Guro, and others) put forward a program for transforming the world with the help of a new art that abandoned the heritage of its predecessors. At the same time, unlike representatives of other literary movements, in substantiating creativity, they relied on fundamental sciences - mathematics, physics, philology. The formal and stylistic features of the poetry of futurism were the renewal of the meaning of many words, word creation, the rejection of punctuation marks, the special graphic design of poetry, the depoetization of the language (the introduction of vulgarisms, technical terms, the destruction of the usual boundaries between "high" and "low").
Conclusion
Thus, in the history of Russian culture, the beginning of the 20th century is marked by the emergence of diverse literary movements, various aesthetic views and schools. However, original writers, true artists of the word, overcame the narrow framework of declarations, created highly artistic works that survived their era and entered the treasury of Russian literature.
The most important feature of the beginning of the 20th century was the general craving for culture. Not to be at the premiere of a performance in the theater, not to attend the evening of an original and already sensational poet, in literary drawing rooms and salons, not to read a book of poetry just published was considered a sign of bad taste, outdated, not fashionable. When culture becomes a fashionable phenomenon, this is a good sign. “Fashion for culture” is not a new phenomenon for Russia. So it was in the days of V.A. Zhukovsky and A.S. Pushkin: let's remember the "Green Lamp" and "Arzamas", "The Society of Lovers of Russian Literature", etc. At the beginning of the new century, exactly one hundred years later, the situation practically repeated itself. The Silver Age came to replace the Golden Age, maintaining and maintaining the connection of times.
Practice #10-11
Practice #9
Dramaturgy by A. Blok
Practice #8
Theater in the life and work of Blok.
Disputes around the play "Balaganchik".
The ideological concept of "Balaganchik".
Blok's controversy with the aesthetics of symbolism and an attempt to resurrect the theater of masks, puppets, puppets in "Balaganchik".
The development of the image of the Stranger in poetry (in the poems "Your face is paler than it was", "There the ladies flaunt their fashions", "There, in the howling cold of the night", "A train splashed with stars", "The Stranger") and in the play "The Stranger" .
The ideological and artistic unity of Blok's lyrical trilogy, its genre and style originality.
The role of Blok's dramaturgy in the development of symbolist drama and theatre.
Literature
Blok A. Poems: Your face is paler than it was, There the ladies flaunt their fashions, There, in the howling cold of the night, A train spattered with stars, A stranger; plays Balaganchik, Stranger.
1. Solovyov B. Poet and his feat. M., 1971. S. 179-190, 365-375.
2. Fedorov A.V. Blok's theater and dramaturgy of his time. L., 1972. S. 41-86.
3. History of Russian literature XX century. Silver Age. M., 1995. S. 369-374.
4. Frolov V. The fate of dramaturgy genres. M., 1979. S. 135-153.
A. Bely's novel "Petersburg"
The idea, history of creation and publication of the novel.
The problem of the novel.
The figurative system of the novel.
"Petersburg text" of Russian literature and the image of Petersburg in the novel.
Image of revolution and revolutionaries.
Stylistic originality of the novel.
Literature
1. Bely A. Petersburg. M., 1994. See also Piskunova S.I., Piskunov V.M. Comments. pp. 436-463 or White A. Petersburg edition. Poems. M., 1998. See here Orlitsky Yu.B. Comments. pp. 427-455.
2. Russian literature of the late XIX-early XX centuries. 1908-1917. M., 1972. S. 279-286.
3. Berdyaev N. About Russian classics. M., 1993. S. 310-317.
4. Dolgopolov L. Andrei Bely and his novel "Petersburg". L., 1988. Ch. III "Petersburg". pp. 198-340.
5. Toporov V.N. "Petersburg and the "Petersburg text" in Russian literature // Bely A. Petersburg. Poems. M., 1988. S. 598-613.
Assignment: to get acquainted with the literary manifestos of the Symbolists, Acmeists, Futurists (Chrestomathy), read the poems of V. Bryusov, K. Balmont, F. Sologub, A. Bely, S. Gorodetsky, O. Mandelstam, M. Kuzmin, A. Akhmatova, V Khlebnikov, V. Kamensky, I. Severyanin (according to any edition of the reader compiled by N.A. Trifonov).
1. Symbolism, its theory and practice. Senior and junior symbolists.
2. The ideological and aesthetic program of acmeism, its representatives.
3. Russian futurism, its program and groupings, differences from Italian futurism.
4. Creativity A. Akhmatova until October. (Student's message).
5. Creativity A. Bely until October. (Student's message).
6. Creativity V. Khlebnikov. (Student's message).
7. Creativity I. Severyanin. (Student's message).
Literature
Russian literature of the XX century. pre-October period. Reader. Compiled by N. A. Trifonov.-M.: 1962 or subsequent editions.
Tager K. K. The emergence of modernism. - In the book: Russian literature of the late XIX - early XX century. The nineties. -M.; 1968.
Sokolov A. G. History of Russian literature of the late XIX - early XX centuries. M., 2000, p. 219-364.
Mikhailovsky B. V. Symbolism. In the book: Russian literature of the late XIX - early XX century. 1901-1907. - M.: 1971.
History of Russian literature. XX century. Silver Age. M.: 1995. (Ch. P, 1X, X).
Literature for messages
Pavlovsky A. Anna Akhmatova. Essay on creativity. M.: 1966.
Dobin E. S. Poetry of Anna Akhmatova. L.: 1968.
Khmelnitskaya T. Poetry of Andrey Bely. In the book: A. Bely. Poems and poems. Poet's Library. Big series. -M.-L.: 1966.
Stepanov N. Enter. article in the book: Khlebnikov VV Poems and poems. Poet's Library. Small series.-L.: 1960.
Mikhailovsky B. V. I. Severyanin. In the book: Mikhailovsky B.V. Literature of the XX century. M.: 1939. p. 346-348.
Orlov V. Crossroads. From the history of Russian poetry at the beginning of the 20th century. - M., 1966. p. 71-87.
History of Russian literature. XX century. Silver Age. M.: 1995
Colloquium 2 (Final)
2. Traditions of A. Blok in Soviet poetry.
3. The fate of critical realism at the beginning of the 20th century after October.
4. M. Gorky's novel "Mother" and modernity.
5. The most important differences between pre-October socialist literature and post-October.
6. The fate of I. Bunin's creativity in Soviet literary criticism.
7. Name and reveal the most important reasons for the crisis of Russian symbolism.
8. The fate of L. Andreev's creativity in Soviet literary criticism.
9 Conquests and miscalculations of Russian symbolism.
10. Why were all modernist movements of the early 20th century born and shaped primarily in poetry?
11. In what aspects of their work did V. Bryusov and A. Blok go beyond symbolism? (Open on the example of specific works).
12. What separated the poetry of A. Akhmatova from the poetry of acmeism?
13. Traditions of N. Gumilyov's poetry in the poetry of the 1920-50s.
14. What are the three main differences between the style of the Symbolist and Acmeist manifestos from the manifestos of the Cubo-Futurists.
15. The role of I. Annensky's poetry in the development of poetry of the twentieth century.
16. Experimental beginning in non-realistic poetry (describe three trends).
1U.TOPICS FOR INDEPENDENT STUDY
CREATIVITY OF A. S. SERAFIMOVICH (1863-1949)
The first "northern" stories of Serafimovich of the 80s. The use by the writer of "exotic" northern material to identify social inequality, building a plot on social oppositions ("On the Ice Floe"). The image of the Magpie in this story is like the beginning of the gallery of working people. Deep sympathy for the oppressed people, realistically accurate reproduction of folk life, the search for a positive hero among the people as a beginning, bringing Serafimovich's early work closer to the traditions of G. Uspensky, A. Levitov, F. Reshetnikov. The influence of Korolenko on Serafimovich's early work: the creation of extremely dramatic situations that put the hero in extreme conditions, a landscape that emphasizes the intensity of the hero's struggle with the elements.
The emergence of the theme of the working class in the stories of the 90s ("Little Miner", "Switchman", "Coupler"). The hero's professional affiliation, the depiction of his production work as an attempt to inherit the traditions of the "physiological essay" genre. Ordinary plots and conflicts of these stories as a reflection of real life contradictions. Laconism, internal drama, stinginess of external expressive means, hidden publicism of stories Serafimovich's humanism, interpretation of the theme of the working class from general democratic positions.
Serafimovich's rapprochement with Gorky at the end of the 1990s, activities in the Znanie publishing house, Gorky's advice to Serafimovich to draw the proletariat not only suffering, but also as a force going out to fight.
The insurgent people and the conscious proletarian as the main characters of Serafimovich's prose of the period of the revolution of 1905-1907. ("At the cliff", "On Presnya", "Bombs"). The spiritual insight of a woman from the people (“Bombs”), the unbending stamina of the rebellious people (“On Presnya”), the unity of the people (“At the Cliff”). Transferring the author's attention from the life and work of workers to the processes of the emergence and development of revolutionary consciousness, the replacement of industrial and domestic conflicts with conflicts of worldview, ideological ones. Historical optimism of stories about the first Russian revolution. The change in the writer's style in the stories of this period: the wide occurrence of revolutionary romance, the expressiveness of the narrative, the symbolism of situations, landscape, details, the leitmotif construction of stories, their ring composition, the deepening of psychologism aimed at revealing social psychology, increasing the role of polylogue as the main means of creating "polyphony of the masses ". Serafimovich's works about the revolution in comparison with Gorky's works of 1903-1907. (“Bombs” - “Mother”, “On Presnya”, “At the ravine” - “Enemies”).
Artistic study by Serafimovich of the psychology of the inhabitant-owner in the story "Sands" (1908). The study of the socio-psychological roots of petty-bourgeois renegacy and the destructive influence of property on the soul and destiny of a person. The social conditionality of the spiritual death of a person who has fallen into the network of bourgeois relations. The symbolic image of the sands and its role in the story. The symmetry of the conflict and the plot of the story, the hidden controversy with the modernist glorification of amoralism and selfishness of the individual. philosophical meaning of the story.
The novel "City in the Steppe" as the largest pre-October work of the writer. Artistic identification in the novel of irreconcilable class conflicts between the bourgeoisie and the proletariat. Reflection of the history of Russia 1880-1890. in the novel (capitalization of industry, the emergence of new social relations, the growth of the labor movement, the convergence of the predatory aspirations of the bourgeoisie with the interests of the liberal intelligentsia, the inevitability of the collapse of the bourgeois world order). The system of images of the novel as a reflection of the class contradictions of Russian reality. Spiritual and physical degeneration of the Russian bourgeoisie in the character of Zakhar Koroedov. Ideological and artistic significance of mass scenes in the novel. The proximity of Serafimovich and Gorky in the interpretation of the theme of capitalism, the fate of the bourgeois intelligentsia and the proletariat. Breadth and versatility of the plot. Complication of the novel with naturalistic features (images of Zakhar Koroedov and Kara). New stylistic qualities of the novel (breadth of the socio-historical background, social insight and depth of psychological analysis, skill in creating a collective image of the masses, dynamism of the plot) as a harbinger of the style of the novel "Iron Stream".
Proletarian poetry 1890-1917
Russian workers' revolutionary poetry 1890 - 1917. as an expression of the revolutionary practice of the proletariat, as the embodiment of its emerging socio-political and aesthetic ideals. The origins of this poetry are the struggle of the working class and the depiction of its hard lot. Appearance in proletarian poetry of the second half of the 90s. a clearly expressed socialist orientation thanks to the work of professional revolutionaries G. Krzhizhanovsky, L. Radin, A. Bogdanov and others. The promotion of the image of a conscious proletarian as the main character in their poetry.
The formation of the stylistic system of proletarian poetry: the traditions of civil lyrics, high romantic pathos as the leading feature of style, the combination of realism with revolutionary romance, the widespread use of allegorical and generalized images. (Poems “Varshavyanka”, “Rage, tyrants” by G. Krzhizhanovsky, “Boldly, comrades, in step” by L. Radin, “Pagan” by E. Nechaeva, etc.).
Proletarian poetry of the period of the first Russian revolution. The growth of concrete political content, the pathos of protest, the glorification of freedom and the audacity of the revolutionary struggle in the poems "Gutary" by E. Nechaev. “Song of the Proletarians” by A. Bogdanov, “Insolence Glory”, “Belated volleys have fallen silent”, “You say that we are tired” by E. Tarasova and others.
Opposition in the era of reaction 1908-1914. proletarian poetry "decay literature", the formation in the 10s of proletarian poetry into an independent trend of socialist literature.
The role of Gorky in the development of proletarian poetry, proletarian poetry on the pages of the Bolshevik newspapers Pravda and Zvezda.
Birth in proletarian poetry 1890-1917 Russian mass revolutionary song. (“Varshavyanka”, “Rage, tyrants” by G. Krzhizhanovsky, translation of the “International” into Russian by A. Kots, “Boldly, comrades, in step” by L. Radin, “We are blacksmiths” by F. Shkulev, “My songs” A Gmyreva and others).
Creativity D. Poor (1883-1945)
Demyan Bedny as the largest representative of proletarian poetry. Deep knowledge of the life of the people, protection of their interests, close connection with folk art as the sources of its popularity. Bedny's arrival in the Bolshevik newspaper Zvezda marked the beginning of a new stage of creativity, the pathos of which was the struggle for the realization of the socialist ideal. The fable as the main genre of Poor's poetry in the 10s. (“Lapot and boot”, “Clarinet and horn”, “Cannon and plow”, etc.), its main features (accuracy and simplicity, allegorical images, clarity and intelligibility of the plot, reliance on folklore traditions and traditions of the Saltykov-Shchedrin fable, the transformation of a didactic ending, traditional for a fable, into a political slogan, an ending-call). Achieving the political topicality of the fable with the help of epigraphs taken from newspapers and political chronicles.
Enrichment of the poet's genre repertoire during the First World War: the appearance of a fairy tale, a ditty, a song, a political pamphlet, an epigram.
"My verse" as a poetic manifesto of pre-October creativity.
The final work of the pre-October creativity of the Poor - a poetic story "About the land, about the will, about the working share." The plot, problems, genre originality of the poem.
Creativity V. V. Veresaev (1867-1945)
The pre-October work of Veresaev is a chronicle of the ideological life of the Russian democratic intelligentsia in the 90-900s. Worldview, ideological, spiritual searches of the Russian intelligentsia as the main theme of the writer's work. The story "Without a road" as an artistic history of the drama of the populist intelligentsia. The story "Fad" is a reflection of the formation of the Marxist ideology as the most significant trend in the social and ideological life of the country.
The story "On the turn" as the pinnacle of Veresaev's prose. The ideological struggle between revolutionary Marxism and revisionism in the story. The reflection of this struggle in the figurative system and
plot of the story. Opposition as a principle of revealing characters. (Tanya, Sergey, Baluev-Tokarev).
The ideological conflict as the main one in Veresaev's stories, the writer's research primarily on the ideological, moral and psychological aspects of the characters. Rapprochement of Veresaev's stories with I. Turgenev's ideological novel. Philosophical and aesthetic problems of the book "Living Life", a dispute with D. Merezhkovsky in the interpretation of the works of L. Tolstoy and F. Dostoevsky. Translation activities of V. Veresaev
A. BELY'S NOVEL "PETERSBURG" AS A SAMPLE
SYMBOLIST NOVEL
The history of the creation and publication of the novel (the refusal of the editor of the Russian Thought magazine P.B. Struve to print the novel despite a preliminary agreement with A. Bely and the requests of V. Bryusov). The poetics of the original titles of the novel - “Shadows”, “Evil Shadows”, "Admiralty Needle", "Travelers", "Lacquered Carriage". The final definition of the title of the novel by V. Ivanov. The place of the novel "Petersburg" in the trilogy "East or West" conceived by A. Bely and the connection with the previous story "Silver Dove". The image of Petersburg and its connection with the literary myth about Petersburg by Pushkin, Gogol Dostoevsky and other writers. Place and role of St. Petersburg in the history of Russia. The fate of St. Petersburg and the beginning of St. Petersburg, the philosophy of Russian and world history in the novel. Depiction of the 1905 revolution and revolutionaries in the novel. "Petersburg" as an "astral novel" (N. Berdyaev). Apollon Apollonovich and Nikolai Apollonovich as two generations and two interconnected and opposed beginnings. Poetics of the novel, its associative background.
Due to the great complexity of perception and understanding of the novel, when studying it, it is recommended to read the article by N. Berdyaev “Astral novel (Reflections on the novel by A. Bely “Petersburg”) in the book: N. Berdyaev About Russian classics. M: 1993 and chapter III "Petersburg" in the book: L. Dolgopolov "Andrei Bely and his novel" Petersburg ". L.: 1988.
U. LIST OF POEMS FOR MEMORY
(Poems during the semester are handed over to the teacher and laboratory assistant, the student comes to the exam with a list of submitted poems. This work is taken into account when determining the exam grade).
Gorky M. Song about the Falcon, excerpt "The sea shone, all in bright light." to ... We sing a song to the madness of the brave! ... ”, Song about the Petrel. (One of two poems of the student's choice).
Poor D. My verse.
Radin L. Boldly, comrades, in step. One poem by proletarian poets
Krzhizhanovsky G. Varshavyanka. optionally
Shkulev F. We are blacksmiths.
Bryusov V. Sonnet to form, Young poet.
Block A. I foresee You..., Factory, Russia (Again, as in the golden years), About valor, about exploits, about glory, Stranger, About spring, without end and without edge, Oh, I want to live madly.
Mayakovsky V. Violin and a little nervous.
Bunin I. Motherland, Loneliness.
Solovyov Vl. A wingless spirit, captivated by the earth.
Balmont K. I came to this world to see the Sun.
Sologub F. Nothing is visible in the field.
White A. Despair, From the car window.
Annensky I. The Third Painful Sonnet.
Gumilyov N. By the fireplace, Don Juan.
Akhmatova A. You are my letter, dear, do not crumple, There are always so many requests from your beloved.
Khlebnikov V. Freedom comes naked.
Northerner I. Spring day
U1. REQUIRED LITERATURE AT THE COURSE
1. Texts of works of art
Gorky M. Makar Chudra, Old Woman Izergil, Chelkash, Konovalov, Spouses Orlovs, Song about the Falcon, Song about the Petrel, Foma Gordeev, Philistine, At the bottom, Summer residents or Children of the sun, Mother, Passion-muzzle, Childhood, In people, About Karamazovism .
Serafimovich A. On the ice floe, Little miner. Sands, Bombs.
Poor D. Bast shoes and boots. Clarinet and horn, Candle, House, About Demyan Bedny, a mischievous peasant, My verse.
Kuprin A. Olesya, Moloch, Duel, Gambrinus, Sulamith's Garnet Bracelet, Staff Captain Rybnikov, Wheel of Time, Junkers.
Bunin I. Poems: Village beggar. Homeland, Thaw, Loneliness, Leaf fall, The bird has a nest; News from the Motherland, Tanka, Antonovskie apples. Village, Sukhodol, Gentleman from San Francisco. Cup of Life, Brothers, Zakhar Vorobyov, Mowers, Cursed Days, Arseniev's Life.
Andreev L. Petka in the country, Bargamot and Garaska, Once upon a time, Life of Vasily of Thebes, The story of the seven hanged, Red laughter, Governor, Darkness, Human life, Savva.
Veresaev V. Without a road. Fad, On the turn, Living life.
Bryusov V. Creativity, Young poet. Sonnet to Form, Job, Bricklayer, Assargadon, Antony and Cleopatra, Dagger, Coming Huns. A pale horse, Satisfied, the City, Praise to a man, articles: Preface to the collection “Russian Symbolists”, Preface to the first edition of the book “Chefs d ’ oeuvre”, Poetry by Vladimir Solovyov, Keys of secrets, see: V. Bryusov “Among the verses. 1894-1924". M.: 1990.
Blok A. Gamayun, a prophetic bird. On those days when the soul trembles, the Soul is silent. In the cold sky, I anticipate You. Years pass by, I, a boy, light candles, I enter dark temples. The factory, The boat of life has risen, The stranger, The rally, Oh, spring, without end and without edge, Well-fed, About valor, about exploits, about glory. On the railway. before the court. Yambs (cycle). Russia, Russia, The girl sang in the church choir, On the Kulikovo field, My Russia, my life, Night, street, lantern, pharmacy, Oh, I want to live crazy, Kite, Nightingale Garden, Retribution, Balaganchik, Stranger (play), articles : Paints and words, Irony, The people and the intelligentsia, The soul of the writer, On the current state of Russian symbolism.
Merezhkovsky D. Christ and the Antichrist (novel "Julian the Apostate"), article "On the Causes of the Decline and New Trends in Modern Russian Literature".
Gumilyov N. Poems: I am a conquistador in an iron shell, Song of Zarathustra, Giraffe, Rhinoceros, Lake Chad, Captains, Don Juan, By the fireplace, Slave, In memory of Annensky, Iambic pentameters, Offensive, I am polite with modern life, Word, Lost tram ; articles "The legacy of symbolism and acmeism", "Reader".
Akhmatova A. Poems from the collections "Evening", "Rosary". In her book: The Run of Time. - M.-L.; 1965.
Mandelstam O. Poems: I was given a body - what should I do with it, Silentium, I shudder from the cold, Tsarskoe Selo, The old man, Petersburg stanzas, Dombey and son, Akhmatova, About times simple and rude, Staff, Insomnia. Homer. Tight sails, Straw. Articles "Morning of Acmeism", "Letter on Russian Poetry".
Annensky I. Poems: Poetry, Third painful sonnet, Sheets, On the road, Bow and strings, Among the worlds, Old Estonians, Intermittent lines.
Balmont K. (Poems from the collection: We will be like the sun. In the book: Balmont K. Poems. M.-L.: 1969, article "Elementary words about symbolic poetry."
Bely A. Poems from the collection: Ashes. In the book: Bely A. Poems and Poems. M.-L.: 1966, district "Petersburg", articles from the book: A. Bely Symbolism as a world outlook. M.: 1994.
Ivanov Vyach. Poems: Russian mind, Trizna of Dionysus, Beauty, Zarnitsa, Poets of the spirit, Transparency, You are the sea, Nomads of beauty, Executioners, Summoning Bacchus, the Golden Veils cycle, Watchman, Alexander Blok, articles from the book: Vyach. Ivanov Native and universal. M .: 1994.
Nietzsche F. The Birth of Tragedy from the Spirit of Music (any edition).
Rozanov V. Incompatible contrasts of life. M .: 1990. (article "On the Symbolists").
Collection "Milestones". "Intelligentsia in Russia". M.: 1991 or other editions.
Sologub F. O Death! I am yours, From the world of stunted poverty, In the field you can not see a single one. I love to wander over the quagmire. Captive animals. They were looking for a daughter (see all these poems from the Reader), the novel "Small Demon".
Solovyov Vl. Poems: All in azure appeared today, My queen has a high palace, Close, far, not here and not there, In the morning mist with unsteady steps, Wingless spirit, full of earth, Poor friend, the path has worn you out, Ex oriente lux, Dear friend Or don't you see, Pan-Mongolism, Parodies of Russian Symbolists; Das Ewig-Weibliche, poem "Three dates", articles: The general meaning of art, The meaning of love, The idea of the superman, Three conversations about war, progress and the end of world history.
Khlebnikov V. Poems and Poems.-M.: 1960.
Severyanin I. From the "Prologue", Introduction, Spring Day, Egopolaise.
Lenin V.I. Party organization and party literature.
Krzhizhanovsky G. Varshavyanka, Rage, tyrants.
Radin L. Feel free, comrades, in step.
Shkulev F. We are blacksmiths...
UP. Textbooks and teaching aids
Berdyaev N. About Russian classics. M., 1993.
Smirnova L. A. Russian literature of the late 19th - early 20th centuries. M.; 2001.
Sokolov A. G. History of Russian literature of the late XIX - early XX century.. Izd. 4th - M.: 2000.
History of Russian literature. In 10 tons - M.; 1954, v. 10.
Mikhailovsky B. V. Russian literature of the XX century.- M .: 1939.
Russian literature of the twentieth century. Schools. Directions. Methods of creative work. (Under the editorship of S.I. Timina) St. Petersburg. 2002. (Chapters 1-3).
Russian literature at the turn of the century (1890s - early 1920s. In 2 books. M., 2000, M., 2001.
Russian literature of the late XIX - early XX century. Nineties.- M., 1968.
History of Russian literature. XX century. Silver Age. Ed. Zh.Niva et al. M., 1995.
Markov Vl. On freedom in poetry. Articles. Essay. Miscellaneous. Pb. 1994.
Russian literature of the late 19th-early 20th century. 1901-1907.-M., 1971.
Russian literature of the late XIX - early XX century. 1908-1917.-M.; 1972.
Literary and aesthetic concepts in Russia in the late XIX - early XX century.-M.: 1975.
Petrov S. M. The emergence and formation of socialist realism. - M., 1970.
Keldysh V. A. Russian realism of the early XX century.-M .; 1975.
The development of realism in Russian literature.-M., 1974, vol. 3.
Orlov V.L. Crossroads. From the history of Russian poetry at the beginning of the 20th century. M.: 1976.
Russian literature of the XX century. pre-October period. Reader. Compiled by N. A. Trifonov (any edition).
USh. Monographs and articles
Aikhenwald Yu. Silhouettes of Russian writers. M.: 1994. (Articles about poets and prose writers of the studied period).
Kolobaeva L.A. The concept of personality in Russian literature at the turn of the 19th-20th centuries. M., 1990.
Dolgopolov L. At the turn of the century. On Russian literature of the late 19th - early 20th centuries. L.: 1977.
Baran H. Poetics of Russian literature in the early twentieth century. M.: 1993.
Mikhailovsky B.V. Selected articles about literature and art. M.: 1969.
Bugrov B.S. Russian dramaturgy of the late 19th - early 20th century. M.: 1979.
Mikhailovsky B. Gorky's dramaturgy of the era of the first Russian revolution. - M .; 1955.
Bursov B. Gorky's novel "Mother" and questions of socialist realism. M.; 1955.
Volkov A. The creative path of Serafimovich.-M., 1963.
Zhirmunsky V. Theory of Literature. Poetics. Stylistics. L.: 1977. (Articles: Overcome symbolism, On the way to classicism, Valery Bryusov and the legacy of Pushkin .., Poetics of Alexander Blok, Anna Akhmatova and Alexander Blok).
Eventov I. Life and work of D. Bedny. - M., 1967.
Afanasiev V.N. Alexander Ivanovich Kuprin.-M.: 1972.
Mikhailov O. Ivan Alekseevich Bunin. - M., 1967.
Smirnova L.A. Ivan Alekseevich Bunin. Life and art. M.: 1991.
Maksimov D. Bryusov. Poetry and position - M., 1969.
Metchenko A. V. V. Mayakovsky. Essay on creativity. - M., 1964.
Orlov V. Alexander Blok. Essay on creativity. - M., 1956.
Pavlovsky A.I. Anna Akhmatova. Life and art. M., 1991.
Smirnova L.A. Ivan Alekseevich Bunin. M., 1991.
Solovyov B. Poet and his feat. The creative path of A. Blok (any edition).
Gromov P. A. Blok. His predecessors and contemporaries. L.: 1986.
Maksimov D. Poetry and prose of A. Blok. L.: 1981.
Dolgopolov L. Andrei Bely and his novel "Petersburg". L.: 1988.
Osmakov N.V. Russian proletarian poetry 1890-1917 - M., 1968.
Yushin P. F. Sergei Yesenin. Ideological and creative evolution. - M., 1969.
Shcherbina V. R. A. N. Tolstoy. Creative way. - M.: 1965.
Afonin L. Leonid Andreev. - Eagle, 1959.
Iezuitova L.A. Creativity of Leonid Andreev (1892-1906). L.: 1976.
Bezzubov V. Leonid Andreev and the traditions of Russian realism. Tallinn, 1984.
Brovman G. V. V. Veresaev. Life and work. - M .: 1959.
1X.FURTHER LITERATURE
Bely A. Silver dove.
Gumilyov N. Letters about Russian poetry.
Garin-Mikhailovsky N.G. Childhood Themes, Students..
Naydenov S. A. Children of Vanyushin.
Podyachev S.P. Career of Zakhar Drykalin.
Prishvin M. In the land of fearless birds.
Sergeev-Tsensky S.N. Sadness of the fields.
Shmelev I. Man from the restaurant.
Bryusov V. Fiery angel, Jupiter defeated.
Gorodetsky S. Poems and poems. Leningrad: 1974 (Large series of the poet's library).
Kuzmin M. Selected Works. L.: 1990.
Narbut Vl. Poems M.: 1990.
Zenkevich M. Favorites. 1973.
Voloshin M. "The center of all paths ..." Selected poems and poems. Prose. Criticism. Diaries. M.: 1989.
Gippius Z., Merezhkovsky D. Selected. SPb., 1997 (series "Library of Poetry").
Severyanin I. Poems. M.: 1988 (series "Poetic Russia").
Tsvetaeva M. Op. In 2 vols. M.: 1988.
Khlebnikov V. Creations. M.: 1986.
X. Reference and bibliographic literature
History of Russian literature of the late XIX - early XX century. Bibliographic index. Ed. K.D. Muratova.- M.-L.: 1963.
Kandel B. L., Fedyushina L. M., Benina M. A. Russian fiction and literary criticism. Index of reference and bibliographic aids from the end of the 18th century to 1974. - M .; 1976.
X1. LIST OF MANDATORY KNOWLEDGE OF A STUDENT AT THE COURSE
1. Knowledge of the general patterns of the literary process of the late XIX - early XX century, its periodization and the characteristics of each period.
2. Knowledge of the most important ideological and aesthetic features of critical realism at the beginning of the 20th century, socialist literature, and currents of non-realistic literature.
3. Knowledge of the relationship between literary and historical processes at the turn of the 19th - early 20th centuries.
4. The ability to see the dynamics of interaction between literature and the liberation struggle at the turn of the century.
5. Detailed knowledge of the work of artists studied monographically.
6. Ability to establish interdisciplinary connections (literature and history, literature and philosophy, literature and painting, literature and theater, literature and sculpture, literature and architecture).
7. Knowledge (by heart) of the program poems of the poets of this period. (See list)
8. Knowledge of 1-2 monographs on the work of the studied writers.
9. The ability to correlate a particular work with the creative path of the artist, the historical setting, the range of his ideas and the central idea of his work.
10. Knowledge of the artist's personality and how it is reflected in his works.
11. The ability to independently analyze an artistic or scientific text (by specialty!) Of any type.
The ability to “fold” information using keywords, mnemonic signs and other techniques and “unfold” it.
HP. CONTROL QUESTIONS FOR THE COURSE
1. The main periods in the development of literature in the late 19th and early 20th centuries. Literary process of the 90s.
2. The most important features of the literary process of the 900s.
3. The literary process of 1908-1917.
4. Five "keys" of the era (Solovievism, Dostoevism, Tolstoyism, Nietzscheism, Marxism). General characteristics.
5. Three shells of Silver Age literature.
6. Two concepts of the development of literature of the late XIX - early XX century. (The concept of "crisis of realism" and of all literature and the concept of "transformation of realism").
7. Formation of three "streams" in the literature of the late 19th - early 20th century: Russian literature of this period as a prototype of the world literature of the 20th century and as an "experimental laboratory".
8. Critical realism of the late XIX - early XX century and its fate.
9. The emergence and development of socialist literature at the beginning of the 20th century.
10. Historical fate of non-realistic currents. General characteristics.
11. Gorky's early revolutionary romantic works. Problematics, evolution of the romantic ideal and type of romanticism, poetics.
12. Gorky's early realistic stories. Problematics and artistic originality, connection with revolutionary-romantic works (Grandfather Arkhip and Lyonka, Konovalov, Spouses Orlovs, etc.).
13. Roman M. Gorky "Foma Gordeev". Main images, problems, conflict, connection with early realistic stories.
14. The ideological and artistic innovation of Gorky's play "The Philistines".
15. Gorky's play "At the Bottom" as a socio-philosophical drama.
16. The novel "Mother" as a work of socialist literature. The ideological and artistic concept of the novel. Political and aesthetic in the novel.
17. The work of M. Gorky during the years of reaction and during the period of a new revolutionary upsurge (1908-1917).
18. M. Gorky's dramatic trilogy about the intelligentsia (Summer Residents, Children of the Sun. Barbarians). Issues, heroes and conflict.
19. A. Serafimovich's path to socialist literature. (On an ice floe, Little miner. Sands, Bombs, At the cliff, City in the steppe).
20. Problems of pre-October creativity of V. Veresaev.
22. The image of the nobility and peasantry in the works of I. Bunin "Tanka", "News from the Motherland", "Antonov apples", "Sukhodil".
23. Bunin's story "The Village". Issues, main images, image of the 1905 revolution and revolutionaries.
24. Socio-philosophical ideas and anti-bourgeois motives in Bunin's stories "The Cup of Life", "The Gentleman from San Francisco", "Brothers". Artistic skill of Bunin.
25. The problem of the Russian national character in Bunin's work.
26. The emigrant period of Bunin's work (heroes and problems of stories and the novel "The Life of Arseniev").
27. Problems and heroes of pre-October creativity of A. Kuprin. (Moloch, Duel).
28. Faces of love in the works of A. Kuprin "Olesya", "Garnet bracelet", "Shulamith".
29. Proletarian poetry of the late XIX - early XX century.
31. The creative path of L. Andreev. The main problems and heroes of the stories "Bargamot and Garaska", "Petka in the Country", "Once Upon a Time", "The Life of Vasily of Fiveysky", "Governor", "The Tale of the Seven Hanged Men", "Darkness", "Red Laughter".
32. Dramaturgy L. Andreev and his theory of modern theater.
33. The creative path of V. Bryusov. The revolution of 1905 and its influence on the lyrics and the creative path of the poet. (Verse: Creativity, To a young poet, Sonnet to form. Bricklayer, Dagger, Satisfied, Close, Coming Huns. Pale horse, Praise to man).
34. Two ways of searching for a positive ideal in Bryusov's poetry (verse: Work, Bricklayer, Assargadon, Alexander the Great, Cleopatra, City).
35. Pre-October lyrics by A. Blok as a "trilogy of incarnation". The main motives and images in their evolution. (Poems about the Beautiful Lady, Factory, Stranger, Meeting, Oh, spring without end and without edge. Satisfied, Russia, etc.).
36. The theme of the Motherland in the pre-October lyrics of A. Blok.
37. Problems and poetics of Blok's poem "The Nightingale Garden".
39. Philosophical and aesthetic views of the "senior" symbolists.
40. Philosophical and aesthetic views of the "younger" symbolists.
41. Ideological and aesthetic program and poetry of Russian acmeism.
42. Ideological and aesthetic program and poetry of Russian egofuturism.
43. Ideological and aesthetic program and poetry of Russian cubo-futurism.
44. Pre-October poetry by A. Akhmatova. The main motives, the image of the lyrical hero, the originality of the lyrical expression.
45. Lyrics by I. Annensky and its place in the history of Russian poetry of the twentieth century. Its main motives and genres, the most important principles of poetics.
46. The main motives and myths of F. Sologub's poetry. The image of a lyrical hero.
47. "Small demon" F. Sologub. Problems and image of Peredonov.
48. Roman A. Bely "Petersburg". Problems and main images. Image of revolution and revolutionaries.
49. The main thematic directions and evolution of the lyrical hero of poetry N. Gumilyov. The most important features of poetics.
And literature
Explanatory note
At the introductory lessons of literature in the 11th grade, students get acquainted with the historical and literary situation at the turn of the 19th-20th centuries. The main purpose of these lessons is to show the relationship between literature and social thought of the late XIX - early XX centuries with historical processes in the country and in the world and their mutual influence; to give an idea of the tendencies of Russian literature, to acquaint you with the literary trends of this period. The material in this table will help the teacher to realize the objectives of the lesson. To test knowledge on the materials of this table, a test consisting of 10 tasks was compiled. The answers to the questions are in bold. In addition to the lesson, you can invite one of the students to make a presentation about the artists, composers of this period and their works.
Poetic currents of the endXIX - beginningXX centuries
Destination, dates | Philosophical, historical, literary roots | Literary associations, magazines | Direction characteristic | manifestos | Relationship with other arts |
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Proletarian | Poetry of the Decembrists, revolutionary democrats, poets of Iskra, poetry of N. Nekrasov | M. Gorky G. Krzhizhanovsky D. Poor (Pridvorov) | Poetic embodiment of the philosophy of active action Contains a passionate poetic reflection on the Russian revolutionary activity of those years Poetry of civic sound | "party organization and party literature"; Plekhanov "Art and social life" Lunacharsky "Letters on Proletarian Literature" | S. Ivanov "to new places", Kasatkin "Wounded worker"; Yaroshenko "Stoker" Kasatkin "Worker fighter"; Ivanov "Shooting"; Serov "Soldier", "Bravo, guys" |
||
Poetry of critical realism | Knowledgeites New peasant poets Acmeism, 1911 Futurism cubofuturism egofuturism | Traditions of Russian poetic classics: A. Fet, I. Nikitin, A. Polonsky, A. Koltsov Traditions of folk art, peasant poetry of the 19th century French classicism of the 18th century with its refinement of taste Italian futurism |
A. Lukyanov A. Cheremnov S. Klychkov S. Yesenin N. Oreshin N. Gumilyov A. Akhmatova O. Mandelstam M. Kuzmin V. Mayakovsky D. Burliuk V. Khlebnikov and Severyanin K. Olimpov | Circle "Wednesday", Almanac "Knowledge" "Workshop of poets" 1911; Stray dog" 1912; "Halt of comedians" 1915 "Stray Dog", "Halt for Comedians" "Gilea", a collection of "The Garden of Judges" "Petersburg herald", 1912 | Democracy, humanism, following the traditions of revolutionary poetry. They share the ideas of the social democrats In the landscape lyrics, the image of Russia grows - impoverished, hungry, but beloved, beautiful Landscape lyrics give way to philosophical The element of Russian folk art invades. Attempts are being made to unravel the origins and laws of the life of the nation The leitmotif is the life of the Russian village, Russian peasants, native nature "Akme" - clarity, the highest time. Aspiration to the heights of art. The search for a way out of the crisis of symbolism. Unconditional acceptance of the world. Refinement of style, richness of visual impressions, clarity of poetic constructions Anarchist character of social and aesthetic programs. Russian futurists proclaimed the independence of form from content, the rejection of all traditions, freedom of speech | I. Bunin "shortcomings of modern poetry" A unified school and a poetic program have not been created N. Gumilyov "The legacy of symbolism and acmeism" "A slap in the face of public taste", 1910 "Prologue of egofuturism" | Kuindzhi "Night on the Dnieper", "Birch Grove", "Dnepr at night" "Seasons" Levitan "Evening Bells", "Above Eternal Peace" Korovin "On the World"; Ivanov "Riot in the village"; Repin "Religious procession in the Kursk province" Union of Russian Artists: Roerich, Malyavin, Grabar, Korovin, Krasavin Magazine "Golden Fleece" Modernism - the general designation of Russian art of the late XIX - early XX centuries |
Decadence | Symbolism Philosophical-religious symbolism Young symbolism Independent poets | New ideas of Nietzsche, French symbolism, Greek mythology Philosophy of V. Solovyov | I. Annensky V. Bryusov F. Sologub K. Balmont D. Merezhkovsky Z. Gippius V. Ivanov B. Pasternak To Nabokov A. Scriabin V. Khodasevich | "Scales", "Golden Fleece", "Apollo" Z. Gippius Literary Salon Magazines "Comedians", "Centrifuge" | The idea of the unknowability of the world and the laws of its development. Intuitive comprehension of the world, human spiritual experience Art as a social and religious action Reflection of the inner world of the individual (love, loneliness, longing) | Merezhkovsky "On the Causes of the Decline and New Trends in Modern Russian Literature"; V. Bryusov "Russian Symbolists" V. Ivanov "Two elements in modern symbolism" A. Bely "Symbolism as a world outlook" | Art Nouveau style, interest in the Middle Ages. The musical element is the fundamental principle of life. The desire to embody fleeting impressions Creativity N. Roerich M. Vrubel |
Test for knowledge of the material "Poetic currents of the late XIX - early XX centuries
1. Democracy, humanism, following the traditions of realistic poetry, sharing the ideas of social democrats. Which literary movement is characterized by these features?
A. To proletarian poets
B. New peasant poets
V. Znanievtsam
2. Which literary movement does the following group of writers belong to: I. Annensky, F. Sologub, V. Bryusov, K. Balmont?
A. Acmeism
B. Symbolism
B. Futurism
3. Which of the following characteristics refers to cubo-futurism?
A. The idea of the cognizability of the world and the laws of its development. Intuitive understanding of the world.
B. Anarchic character of aesthetic and social programs. Independence of form from content.
B. The poetic embodiment of the philosophy of active action.
4. Representatives of which movement did not have a single school and poetic program?
A. New peasant poets
B. Independent poets
B. Proletarian poets
5. French classicism of the 18th century, with its sophistication of taste, became the source of creativity for poets:
A. Symbolists
B. Futurists
V. Akmeistov
6. What literary trend (direction) corresponds to the created Union of Russian Artists, which included Roerich, Malyavin, Grabar, Korovin, Krasavin and other artists?
A. Acmeism
B. Symbolism
B. Futurism
7. For which of the literary movements (trends) did the article “party organization and party literature” become a manifesto?
A. Proletarian poets
B. Young Symbolists
B. New peasant poets
8. In the work of which poets can the poetry of civil sounding be traced?
A. Novokrestyanskikh
B. Proletarian
V. Symbolists
9. What group of poets are acmeist poets?
A. Klyuev, Yesenin, Klychkov
B. Nabokov, Scriabin, Khodasevich
V. Gumilyov, Akhmatova, Mandelstam
10. Which of the literary movements does the work of I. Bunin belong to?
A. Acmeists
B. Knowledge
3. Young Symbolists
References
The table is taken from lecture material from refresher courses. The test was compiled by the author based on the materials of this table.
