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Sections: History and social studies

Lesson Objectives: to form among schoolchildren an idea of ​​the essence of the sociocultural phenomenon of the “Silver Age”. Show the achievements of Russian art and the artistic value of new trends in art, contribute to instilling in schoolchildren a sense of beauty; moral and aesthetic qualities.

Lesson type: presentation.

Equipment: video and DVD films , art albums, records with Kachalov’s recordings, portraits of artists and scientists of that time.

Basic Concepts: decadence, modernity, symbolism, acmeism, futurism.

Lesson preparation and delivery plan:

Stages of work	Contents	Student activities	Teacher activities
Preparatory	Defining the topic, goal, task.	Discuss the subject with the teacher and receive the necessary information, set goals.	Motivates students and helps in setting goals.
Planning.	Identification of information sources. Determining ways to collect and analyze information. Arranging the topic's problems: The spiritual state of Russian society: the loss of old and the search for new life guidelines, Russian philosophy in search of a new ideal, Literature: new poetic movements, Features of the Russian school of painting in the 20th century. Music: the difference between artistic traditions of the 19th and 20th centuries. Planning your presentation	Develop an action plan and formulate tasks.	Offers ideas, makes assumptions.
Implementation.	Students visit libraries, get acquainted with scientific articles, reference material, visit the Amur Drama Theater “The Cherry Orchard”, listen to poems by poets of the Silver Age performed by theater artists, listen to recordings of Kachalov, Chaliapin, etc.	Solving intermediate problems, accumulating material.	Manages activities, observes, advises.
Results and conclusions	Analysis of information: at this stage, students are faced with the problem of “spiritual crisis or spiritual uplift.” During the presentation, students intend to defend their point of view.	Analyze information.	Observes, advises.
Performance.	Presentation with elements of discussion.	Report and discuss results	The history teacher - the presenter - listens and asks questions. Teachers of literature, music, art and art are included in the groups as ordinary participants.
Evaluation of results as a whole.	Discussion.	Participate in assessment through collective discussion of performance results.	Evaluates student efforts, quality of use of sources, quality of report.

During the classes: The students sit in a semicircle facing each other.

Decor: the silver age of Russian culture: spiritual crisis or spiritual uplift?

Every day a spoonful of kerosene
We drink the poison of dull little things...
Under the debauchery of meaningless speeches
The man becomes dumb like a beast.
S.Cherny

Oh, I want to live crazy:
Immortalize everything that exists
The impersonal - to humanize,
Realize the unfulfilled
A.Blok

In those distant, deaf years, sleep and darkness reigned in the hearts.
Pobedonostsev spread his owl's wings over Russia.
...And the silver month cooled brightly over the silver age...

A history teacher:“The past passes before me. The future passes before me. On the verge of two centuries. At the turning point of two worlds,” said A.S. Pushkin in the words of his hero Pimen.

The 19th century ended and the 20th century began. Several decades, in terms of their chronological duration, time is not that long. The historian is accustomed to dealing with centuries, with millennia. But what is historically significant is not the number of years or decades, but the significance of the events that took place at that time.

Names the topic of the lesson and sets the task: Why Silver Age? After all, this period is full of ambiguities, contradictions, and searches? Refers to the epigraph. Two poets living in the same historical period of time. Why such a difference in the feeling of life? And our task is more difficult than it seems at first glance. It’s not easy to answer the question “why the Silver Age?” We must talk about the state of Russian society, which is reflected by crisis or spiritual uplift.

Let's remember what the world was like at the beginning of the 20th century. Let's try to evaluate the era.

A history teacher: The beginning of the 20th century was a turning point in the life of Russia. In political, economic, and, consequently, in spiritual life. The industrial era dictated its own conditions and standards of life, destroying traditional values.

Contents of the second group's performance: what sentiments dominated in Russian society of that period? Confusion, an anxious feeling - an impending war. Violation of harmony between man and nature. Standardization. Rationalism. Individualism. Secularization of consciousness. The process of rethinking the problems of humanity affected philosophy, science, literature, and art. Russia's entry into a new era was accompanied by a search for an ideology that could not only explain the changes taking place, but also outline the prospects for the country's development. The most popular philosophy was Marxism (what is Marxism? Why did it have fertile soil in Russia? - Russia is a “catching up” country, the rapid development of capitalism means sharp contradictions. Ideas of equality appeal to the Russian character, prone to messianism).

A history teacher: However, after the revolution of 1905, part of the Russian intelligentsia became disillusioned with Marxism, with the recognition of the primacy of material life over spiritual life. In 1909, a collection of articles “Vekhi” was published, prepared by famous philosophers Berdyaev, Struve, Frank, and Bulgakov. The authors presented a cruel account of the Russian intelligentsia, accusing it of adherence to outdated philosophical teachings of the 19th century, of nihilism, low legal consciousness, isolation from the people, and oblivion of Russian history. These are the features, according to the authors of Vekhi, that brought the country to the brink of a national catastrophe (revolution). Therefore, they believed that transformations in the country should begin with the development of new religious and moral ideals. That the uniqueness of Russia’s spiritual life leads to Russia’s unique historical path. The character of Russian society in the 20th century was most clearly reflected in the Russian artistic culture of the Silver Age.

So, literature.

At the crossroads of times, the premonition of a great breakdown was felt literally in everything, Russian culture flourished. This short, like any flowering, period of eras from the early 1890s to the mid-1910s is usually called the Silver Age. This sonorous name was born by analogy with the popular definition of “The Golden Age of Russian Literature” (why “Golden” The main themes are citizenship, love of freedom, patriotism, grandeur, relevance).

Literature teacher: But Pushkin's harmony is unattainable. Theories, names, directions changed rapidly. The “Silver Age” brought together a variety of poets, artists, performers, musicians, and philosophers in an attempt to find some new fusion of creativity and life.

Contents of the third group's presentation: It was in culture that the salvation of the world, shaken by technical innovations and social explosions, was seen. The crisis in the country was reflected in the diversity of literary trends. The founders were symbolist poets ( Initially, symbolism took the form of decadence ( . They used color symbolism: black – mourning, death. Blue – solitude, sadness, magical meaning. Yellow – betrayal, treason. Gray – dust, the color of plaque.

Symbolist poets (demonstration of portraits with comments and reading of poems) Balmont, Gippius, Sologub, Bely, Blok.

Oh, I want to live crazy:
Immortalize everything that exists
The impersonal - to humanize,
Realize the unfulfilled
Let life's heavy sleep breathe,
Let me suffocate in this dream.

Perhaps the young man is cheerful
In the future he will talk about me6
Forgive the sullenness - is it really
Its hidden engine?
He is all goodness and light.
He is all a triumph of freedom.
A. Blok.

Poem “About valor, about feat, about glory”

(Recording by V.I. Kachalov, Russian theater actor, 20th century, incomparable voice of the artist).

Conversation: poems with thoughts about Russia, about your great agony on the cross before it. About loneliness, the bitterness of separation, about lost happiness. Words-symbols. How are they related to the main idea of ​​the poem?

Poets pass away, but a priceless gift remains - their poems. Blok knew how to live in the future, knew how to recognize signs of the future in his surroundings, and therefore was ahead of his time.

The opponents of the Symbolists were the Acmeists ( definition, content, origin). Acmeist poets: Gumilyov, Mandelstam, Gorodetsky, Akhmatova. (demonstration of portraits with comments and poetry reading)

A story about the work of A. Akhmatova. (or another poet of this direction). Her poetry has returned to us today in all its pristine purity and unclouded bright integrity.

Poem "You are always mysterious and tender."

Conversation: poems about earthly joys and sorrows. By what means does the author express love?

Futurism ( definition, content, origin). Their poems were distinguished by increased attention to the form of versification; language of a document, poster, poster. Severyanin, Khlebnikov, Mayakovsky. (demonstration of portraits with comments and poetry reading).

There were poets outside the groups, Bunin, Sasha Cherny, Kuzmin, Tsvetaeva.

A story about the work of M. Tsvetaeva (or another poet of this direction).

Who is made of stone, who is made of clay,
And I am silver and sparkling!
My business is treason, my name is Marina,
I am the mortal foam of the sea. (and other poems)

M. Tsvetaeva’s poems are modern and popular. They are read, they are sung. Audio recording by A. Pugacheva “So many of them have fallen into this abyss.”

Summary of the literature block: All the poets of the Silver Age have one thing in common: they wrote about their beloved, beautiful Motherland with its difficulties. They paved the way for modern literature. And all our contemporary poets turn to their work.

A history teacher: This “new beauty”, this search for a new form was reflected in the painting of the 19th – early 20th centuries. What are the features of the Russian painting school of the “Silver Age”?

Art teacher: Symbolism as a phenomenon was also characteristic of Russia in the 20th century. The largest among them are Vrubel and Petrov-Vodkin.

A story about the work of M.A. Vrubel (demonstration of reproductions of “The Seated Demon”, “The Defeated Demon”). The peculiarity of the image, the artist’s style – a sharp, breaking stroke, intersecting edges, emotional color combinations. Vrubel in symbolic form puts forward the image of a rebel hero, an outcast prophet.

In the same direction is the work of K. Petrov-Vodkin (a story about creativity). Reproduction of “Bathing the Red Horse”. Conversation. Suggested symbols: red - impending revolution, color of life, struggle).

A story and a video fragment about the work of Chagall. Techniques of cubism, popular print technique. "Me and the village."

Along with this, a new movement emerged - abstractionism ( definition, content, origin), which is most reflected in Kandinsky’s work. Fragment of a video film.

Art teacher: Analyzing the work of artists of this period, tell me, is this a creative crisis or creative upsurge?

A history teacher: We are talking about poetry in literature, about consonance in painting. Now let's turn to the poetry of sounds and try to determine whether Russian composers in the 19th - early 20th centuries had the same creative quests and difficulties that we saw in painting and poetry.

What did the 20th century bring to music? Fragments of works. Conversation: name the composers of the 19th century. What is the common name applied to them? What works do we call classic? What is typical for the work of composers of the 19th century. What the 20th century brought to music. All the same trends that you named in literature. These were different directions, often conflicting with each other.

A history teacher:

The historical paradox is that the freedom and diversity of the artistic life of those years serve both as a confirmation of the strength of Russian culture and as a confirmation of the weakness of the distorted consciousness of a part of educated Russian society. In those specific socio-psychological conditions, culture could not maintain social balance, but it was not to blame for this. She left such masterpieces that the world admires today. This sociocultural phenomenon went down in history under the name of the “Silver Age” of Russian culture.

The turn of the 19th–20th centuries is a period of a new rise in Russian culture. This is a time of rethinking the traditions and values ​​of Russian and world culture of the 19th century. It is filled with religious and philosophical quests, rethinking the role of the artist’s creative activity, its genres and forms.

A feature of Russian culture of this period is the formation of a dual path of development: realism and decadence, united at the present stage by the concept of “Silver Age” culture. This testifies to the dualistic perception of the world, so characteristic of both romanticism and new art. The first path of cultural development concentrated the traditions of the 19th century, the aesthetics of the Wanderers and the philosophy of populism. The second path was developed by the aesthetic intelligentsia, which broke ties with the raznochinstvo.

Decadence in Russia became a reflection of religious philosophy, incorporating the aesthetics of symbolism. Western European culture also developed in a multifaceted way, where decadence and symbolism were parallel trends in poetry and philosophy. In Russia, both of these concepts quickly become synonymous. This leads to the formation of two schools: Moscow and St. Petersburg, which developed both aesthetic concepts. If the St. Petersburg school sought to overcome individualism on the basis of the mystical and religious philosophy of Vl. Solovyov, the Moscow school most fully absorbed European traditions. There was a special interest here in the philosophy of Schopenhauer and Nietzsche, and in the synaestheticism of French poetry.

An analysis of the socio-cultural life of the late 19th century shows that the mood of a certain stability widespread in society in the 80s is being replaced by some kind of psychological tension, the expectation of a “great revolution” (L. Tolstoy). In one of his letters in 1901, M. Gorky noted that “the new century will truly be a century of spiritual renewal.”

Since the mid-90s, a social upsurge has begun again in the socio-political life of Russia, a feature of which has become a broad liberal movement and the participation of workers in revolutionary democratic uprisings.

The Russian intelligentsia turned out to be almost helpless in the face of the new demands of political development: a multi-party system was inevitably developing, and actual practice was significantly ahead of the theoretical understanding of the principles of the new political culture.

All these trends occurred against the background of the growing diversity of spiritual life that accompanied the development of capitalism and the weakening of authoritarian control by the autocracy.

The diversity of forces fighting in the political arena and the special character of the Russian revolution influenced culture, the creative and ideological quests of its leaders, and opened up new paths for socio-cultural development. The complexity and inconsistency of historical reality determined the diversity of forms of the cultural-historical process.

Philosophical and aesthetic thought in Russia as an independent branch of knowledge developed with some delay and at the turn of the 19th - 20th centuries had a number of features, due, first of all, to the border position of Russians between Europe and Asia and their unique spiritual world. The cultural theories of that time were given particular specificity by the feeling of instability, instability, uncertainty and nervousness in Russian culture of the late 19th and early 20th centuries.

In Russian philosophical and aesthetic thought of the 19th - first half of the 20th centuries. the predecessor of Russian cosmism N.F. Fedorov contributed; philosopher V.V. Rozanov, who proclaimed family and sex life to be the basis of faith; proponent of the reconciliation of science and religion S.L. Frank, who contributed to the formation of an existentialist view of culture; the prophet of future world catastrophes and the creator of the philosophy of the absurdity and tragedy of human existence L.I. Shestakov, who spoke out against the dictates of reason over the spiritual freedom of the individual, etc.

The complex social processes that engulfed Russia in the late 19th and early 20th centuries, growing political instability, and the search for ways to further develop the country made the discussion of social science issues especially relevant. It included representatives of a wide variety of scientific specialties and ideological movements. An important factor in the ideological development of Russia was the spread of Marxism. The largest theorists of Russian Marxism were the leaders of the social democratic movement V.I. Lenin, G.V. Plekhanov, N.I. Bukharin. The positions of “legal Marxism” were initially occupied by the famous Russian philosopher N.A. Berdyaev, who later switched to seeking God in the spirit of religious existentialism, and the economist M.I. Tugan-Baranovsky. The most significant of the non-Marxist thinkers were the sociologist P.A. Sorokin, who emigrated from the country after the revolution; economist, philosopher and historian P.B. Struve. Russian religious philosophy was bright and original. Its most significant representatives are V.S. Solovyov, Prince S.N. Trubetskoy, S.N. Bulgakov, P.A. Florensky.

The leading direction in the literary process of the second half of the 19th century was critical realism. It is reflected especially clearly in the works of A.P. Chekhov. Talent A.P. Chekhov manifested himself, first of all, in stories and plays in which the writer amazingly accurately, with subtle humor and slight sadness showed the life of ordinary people - provincial landowners, zemstvo doctors, county young ladies, behind the monotonous course of whose lives arose a real tragedy - unfulfilled dreams, unrealized aspirations that turned out to be useless to anyone - power, knowledge, love.

The appearance of Russian literature changed quite seriously at the turn of the century. Maxim Gorky entered Russian culture with a bright and original talent. Coming from the people, shaped as a personality thanks to persistent self-education, he enriched Russian literature with images of extraordinary strength and novelty. Gorky took a direct part in the revolutionary movement, actively promoting the activities of the RSDLP. He put his literary talent at the service of the political struggle. At the same time, Gorky’s entire work cannot be reduced only to narrow political enlightenment. As a real talent, he was wider than any ideological boundaries. His “Song of the Petrel”, the autobiographical trilogy “Childhood”, “In People”, “My Universities”, the plays “At the Depths”, “Vassa Zheleznova”, and the novel “The Life of Klim Samgin” are of enduring importance.

A significant role in the literary life of the turn of the century was played by V. G. Korolenko (“The History of My Contemporary”), L. N. Andreev (“Red Laughter”, “The Tale of the Seven Hanged Men”), A. I. Kuprin (“Olesya”, “The Pit”, “Garnet Bracelet”), I. A. Bunin (“Antonov Apples”, “Village”).

Great changes occurred at the turn of the century in poetry. Critical realism of poets of the second half of the 19th century. is replaced by the innovative, free-flight of artistic imagination, mysterious, whimsical, mystical poetry of the “Silver Age”. A characteristic feature of the life of the poetic environment of that time was the emergence of artistic associations that professed certain creative principles. One of the first to emerge was the Symbolist movement. It was formed in 1890–1900. The first generation of symbolists included D.S. Merezhkovsky, Z. Gippius, K.D. Balmont, V.Ya. Bryusov, F. Sologub. The second includes A.A. Blok, A. Bely, V.I. Ivanov.

The key to the aesthetics of symbolism was the desire to convey one’s sense of the world through poetic “symbols”, peculiar half-hints, for the correct understanding of which it was necessary to abstract from the direct, mundane perception of reality and intuitively see, or rather, feel in everyday images a sign of a higher mystical essence, to touch the global the secrets of the universe, to Eternity, etc.

Later, a new poetic direction, acmeism, emerged from symbolism (from the Greek akme - tip, highest point of flowering). The works of N.S. Gumilev, the early works of O.E. Mandelstam, A.A. Akhmatova belong to it. The Acmeists abandoned the aesthetics of allusion inherent in symbolism. They are characterized by a return to clear, simple poetic language and a precise, “tangible” image.

The literary activity of the masters of the Russian avant-garde was distinguished by true innovation. In 1913, a movement arose called futurism (from the Latin futurum - future). Futurists, among whom there were many very talented poets (V.V. Mayakovsky, A.E. Kruchenykh, the Burlyuk brothers, I. Severyanin, V. Khlebnikov), were characterized by bold experiments with words and poetic form. The works of the futurists - the “poetry of the future” - were sometimes very coldly perceived by the reading public, but the creative search that they conducted had a huge impact on the further development of Russian literature.

This period was marked by the complexity of the sociocultural situation in Russia. The era of the Russian-Japanese and the First World Wars, three revolutions, terrible disasters and social explosions.

At the same time, the end of the 19th - beginning of the 20th centuries. marked by the achievements of scientific and technological progress. The introduction of electricity into industry, the appearance of cars and airplanes, the discovery of radio and X-ray waves - everything changed the appearance of the country and the way of life of people. At the beginning of the century, the first Russian cities with a population of more than a million appeared. Since the spring of 1896, first in St. Petersburg and Moscow, and then in other large cities (in 1903 - 1904), cinema began to function. By 1913, there were more than 1,400 cinemas in Russia.

The general process of development of Russian art proceeded contradictorily, striking with the variety of artistic methods, schools, trends,

In Russian artistic culture this period was called Silver Age, which came after Zolotoy, which embodied the highest achievements of Russian art.

The originality of the artistic culture of the Silver Age can be characterized as the parallel development of the realistic direction and a number of non-realistic trends, united by the name of the avant-garde. As art critic V. Vanslov states: “In the 20th century, realism and avant-garde were assessed in struggle and mutual negation.”

Realism retains artistic significance and fruitfulness. Suffice it to cite creativity as an example. L.N. Tolstoy(1898 – 1910) – dramaturgy (“Fruits of Enlightenment” 1891; “The Living Corpse” - 1900; prose - “The Kreutzer Sonata” 1891; “Father Sergius” - published in 1912, “Hadji Murat” - published in 1912; religious -philosophical quests - “Confession” published in 1906 and others.

At the turn of the century, realistic trends with elements of impressionism were embodied in prose and drama. A.P. Chekhov(1860 - 1904), associated with the Moscow Art Theater, the work of K. Stanislavsky and V. Nemirovich-Danchenko: prose - “Ward No. 6” - 1892, “House with a mezzanine” - 1896; “Ionych”, “Man in a Case”, “Gooseberry” all in 1898; dramaturgy - “Uncle Vanya”, “The Seagull” 1896; “Three Sisters”, “The Cherry Orchard” – both 1904.

The realistic tendencies of Russian classical literature are developed by A. Kuprin, I. Bunin, V. Veresaev. These days their direction is called neorealism.

A. Kuprin(1870 – 1953) – “Listrigons” (1907-1911); “Gambrinus” - 1907, “Garnet Bracelet” - 1911, “Anathema” - 1913. It should be noted that Kuprin lived in the Crimea in Balaklava; The story “Listrigons” 1907-1911 is dedicated to its fishermen residents.

I. Bunin(1870 – 1953) – Nobel laureate, in exile since 1920. In Russia: “Antonov Apples” – 1900, “Mr. from San Francisco” – 1915, “Easy Breathing” – 1910 and others. At the same time, I. Bunin is an outstanding poet: “Falling Leaves,” 1981; singer of love (“Dark Alleys” and others), brilliant stylist, master of language.

V. Veresaev(1867 - 1945) in the stories and short stories "Without a Road" - 1895, "Plague" - 1989, "Two Ends" - 1899-1903, "Notes of a Doctor" - 1901 and others, raised questions about the fate of the Russian intelligentsia of the turning point period. Novels N.G. Garin-Mikhailovsky(1852 – 1906; “Theme’s Childhood”, “Gymnasium Students”, “Students”, “Engineers”). "The Story of My Contemporary" (published 1922) V.G. Korolenko(1853 - 1921) were a reliable narrative about the spiritual life and quests of Russian youth.

During this period, the creative path of M. Gorky (1868 - 1936) began, creating at the turn of the century realistic stories, short stories and novels ("Foma Gordeev", - 1899, "Three" - 1901) and plays ("The Bourgeois" - 1902, " At the bottom" - 1902, "Summer Residents" - 1905, "Enemies" - 1906 and others). On Gorky's initiative, the publishing house "Knowledge" was organized, uniting realist writers (N. Teleshov, A. Serafimovich, I. Shmelev, E. Chirikov and others). At the same time, M. Gorky is the author of romantic works: “Tales of Italy”, 1911 – 1913, “Old Woman Izergil”, 1895 and others.

Along with realism, neorealism in the literature of the turn of the 19th – 20th centuries. both in Europe and in Russia unrealistic directions are being formed, including symbolism. The concept of symbolism united poets of two generations:

"senior" symbolists(poets of the 90s): Z. Gippius (1869 – 1921), D. Merezhkovsky (1865 – 1911), V. Bryusov (1873 – 1924), F. Sologub (1865 – 1941) and others.

"younger" symbolists– generation of the 1900s: A. Blok (1880 – 1949), A. Bely (1880 – 1934), Vyach. Ivanov (1866 – 1949) and others.

Following Rimbaud, Malariy, Baudelaire, Russian symbolists, based on the poetics of symbol, sought to recreate a surreal artistic space, the effect of uncertainty, which brought them closer to the poetics of romanticism. The creative principle (theurgy, life-creativity), the interchangeability of the ability to synthesize arts were proclaimed (S. Bulgakov: “... all art in its depths is all art...”, C. Baudelaire - the law of “universal analogy”). The philosophical basis was the ideas of A. Schopenhauer, F. Nietzsche and others.

What united so many different masters was the teaching Vl. Solovyova: ideas of “integral creativity”, the subordination of matter to the ideal divine principle.

K. Balmont– “In the Vast,” 1895; “Let's be like the sun”, 1902;

A. Bely– “Gold in Azure”, 1904; “Northern Symphony, 1904;

A. Blok– “Retribution”, 1908 – 1913; “Poems about a Beautiful Lady”, 1904, 1905; “The Nightingale Garden”, 1915 and others.

Oh, I want to live crazy:

To perpetuate everything that exists,

Humanize the impersonal

Make the unfulfilled come true!

A. Blok, “Iambas”

A. Blok, V. Bryusov, in the best works of A. Bely, K. Balmont, F. Sologub did a lot in the development of forms, the musicality of the linguistic means of Russian verse, in the enrichment of the “country of Russian poetry”, and rightfully established themselves as significant masters. Creation A. Blok constituted an era in Russian culture (the cycles “Retribution”, “On the Kulikovo Field”, “Motherland”, “Iambas”, etc.), reflecting the complexities and contradictions of Russian art of this period.

New direction of Russian modernism– acmeism(from the Greek akme - the highest degree of something, peak, blooming power) were represented by the largest poets of the 20th century. The manifesto of Acmeism was N. Gumilyov’s article “The Legacy of Symbolism and Acmeism,” which reflected his artistic orientation. One of the forms of organization was the “Workshop of Poets”, to which belonged: N. Gumilev (1886 – 1921), A. Akhmatova (1889 – 1966), O. Mandelstam (1891 – 1938).

At the center of the Acmeist aesthetics is the problem of the greatness of the word, a reverent attitude towards the native language. Gumilyov’s poem “The Word” was the programmatic poem:

On that day, when over the new world
God bowed his face, then
The sun was stopped with a word
In short, they destroyed cities...

The fate of these poets is tragic: N. Gumilyov was shot (1921), O. Mandelstam died in the camps (1938).

Anna Akhmatova in later works - “ Requiem», « Poem without a hero"reflected the tragedy of the era of the 30s. XX century. She was recognized as a great Russian poet and became the conscience of the generation.

In the terrible war year of 1942, on February 23, she wrote poems in which she called the Russian word the property of the people, a symbol of their courage and immortality.

Courage

We know what's on the scales now
And what is happening now.
The hour of courage has struck on our watch,
And courage will not leave us.
It's not scary to lie down dead under bullets,
It's not bitter to be homeless,
And we will save you, Russian speech,
Great Russian word.
We will carry you free and clean
We will give it to our grandchildren and save us from captivity
Forever!

A direction called the Russian avant-garde is rapidly developing. Of the avant-garde movements in Russia, the most developed futurism, later transformed into Cubo-Futurism.

In previous sections of the book, it was noted that the birthplace of futurism was Western Europe, and its founder was Tomaso Marinetti, a young Italian poet who published the “First Manifesto of Futurism” in 1909 in Paris. “The main elements of our poetry,” Marinetti declared, “will be courage, audacity and rebellion.”

The author positioned the “offensive movement”, not only the “gymnastic step” as the defining features of his direction, but even the speed of the “racing car”, uniting all this with the “beauty of speed” and dynamism, destructive power.

Russian futurism, although it was in many ways similar to Italian, was not so monolithic. V. Mayakovsky (1893 – 1930), V. Khlebnikov (1885 – 1922), A. Kruchenykh(1886 – 1968), finally, D. Burliuk(1883 – 1967), nicknamed “the father of futrism,” were bright individuals and experimenters. After Marinetti’s visit to Russia (1914), D. Burliuk and V. Kamensky published a letter in which they stated: “We have nothing in common with the Italian futurists except a nickname.”

The futurists set the task of creating “synthetic” art,” combining all types of artistic activity. Based on this, syntheticism and synthesis of arts are the distinctive features of the creative style of futurist masters.

They were poets, artists, and theater workers.

I immediately blurred the map of Dubnya,

Splashing paint from a glass,

I showed jelly on a dish

Ocean slanted cheekbones.

On the scales of a tin fish

I read the calls of new lips

Nocturne play

We could

On the drainpipe flute?

V. Mayakovsky (1913)

Futurists were engaged in language creation (V. Mayakovsky, V. Khlebnikov), searching for new pictorial forms (D. Burlyuk, A. Kruchenykh, A. Ekster, M. Goncharova, V. Larionov and others), holding debates, organizing exhibitions. The appeal to primitivism, popular popular print. Avant-garde artists paid special attention to problems of form: compositional solutions, color and line, rhythm, texture, etc.

Characterizing the originality of the Russian avant-garde, Dm. Sarabyanov emphasized that his figures solved the “general problems of existence”: the relationship between the earthly and cosmic (Malevich), the priority of the spiritual over the material (Kandinsky), the unity of humanity in its historical, modern and future state (Filonov), the realization of the human dream in “its fusion with human memory (Chagall). “These problems were solved not in philosophical treatises, but in pictorial formulas, and these formulas received a philosophical coloring.” Futurism in Russian poetry found expression in the works of D. Burliuk (1882 - 1967), V. Khlebnikov (1885 - 1922), A. Kruchenykh (1886 - 1968). The brightest poet, whose work reflected the features of futurism, was V. Mayakovsky (1893 - 1930), who expanded the boundaries of his poetry, which became a cry of pain of a man conquered by the city ("Vladimir Mayakovsky", "Cloud in Pants" and others)

Poetry has become the singer of native nature, the exponent of the innermost secrets of the human soul. S. Yesenina(1895 – 1925): collections “ Radunitsa» 1916; " Pigeon" 1918, " Persian motifs"1925, poems" Anna Snegina" 1925, " Black man» 1926 and others. The human world and the natural world in S. Yesenin’s poem are inseparable. He wrote soulfully:

I think:
How beautiful
Earth
And there's a man on it

The short life and creative path of the poet reflected both the contradictions of reality and the complexities of his personality. But the main direction of his poetry has always been love for the Motherland, its culture, nature, and the Russian word:

But even then
When in the whole planet
The tribal feud will pass,
Lies and sadness will disappear,
I will chant
With the whole being in the poet
Sixth of the land
With a short name "Rus".

In the cultural life of Russia at the end of the 19th – beginning of the 20th centuries. a significant event was the creation of the Moscow Art and Public Theater K.S. Stanislavsky And IN AND. Nemirovich-Danchenko. The theater defended the realistic principles of acting. His repertoire included plays by A. Chekhov, M. Gorky, L. Tolstoy, G. Hauptmann, G. Ibsen.

During this period, the creativity of remarkable actors flourishes: M.N. Ermolova, A.P. Lensky, Sadovsky dynasty(Maly Theatre), M.G. Savina, V.N. Davydova, V.F. Komissarzhevskaya(Alexandria Theater) and others. The productions of E. Meyerhold at the Alexandria Theater, who later created his own team, were distinguished by the originality of their interpretation and originality.

A significant phenomenon in the artistic culture of Russia at the turn of the century was the activity of the first film directors, among them - Ya.A. Protazanov ( 1881 – 1945), a galaxy of popular actors (V. Kholodnaya, I. Mozzhukhin, V. Maksimov, V. Polonskaya).

Actively developing musical life. Higher musical education was represented by the St. Petersburg and Moscow conservatories, which arose back in the 60s. XIX century. Music schools in Kyiv, Saratov, Odessa were transformed in the 10s. at the conservatory. The Philharmonic Society is active in Moscow, " Contemporary music evenings" In Petersburg, " Music exhibitions".

The largest composers of the 20th century were S. Rachmaninov (1873 – 1943), A. Glazunov (1865 – 1936), A. Scriabin(1872 – 1915). Music was marked by innovative trends I. Stravinsky and young S. Prokofiev. "They played a big role in promoting Russian art abroad" Russian seasons in Paris"S. Diaghilev, where Stravinsky's ballets ("Firebird", "Petrushka") were presented, they danced A. Pavlova, M. Fokin And V. Nijinsky, the scenery was painted by A. Benois and A. Golovin.

The activities of representatives of the plastic arts were diverse and varied - painting, graphics, architecture, sculpture,applied arts. One of the most important aspects of the artistic life of Russia during this period was the abundance of exhibitions (10–15 per year), the expansion of their geography (Kharkov, Odessa, Nizhny Novgorod, Kazan, Saratov and others). The Association of Traveling Exhibitions continues its activities, along with it the St. Petersburg Society of Artists and the Moscow Association of Artists. Since the beginning of 1899, exhibitions of the new society have been organized in St. Petersburg World of Art"Thanks to the activities of a member of this circle S. Diaghileva(1872 - 1929), Russian art goes abroad, and international exhibitions operate in Russia.

Was open to spectators Russian Museum in St. Petersburg (1898); in August 1892 P. Tretyakov donated his art collection to the city of Moscow; in 1898, the foundation stone for the building of the Museum of Fine Arts in Moscow took place (now the Pushkin Museum of Fine Arts). There were several private art galleries in Moscow: P. Shchukin, I. Morozov, A. Bakhrushev and others

Art criticism is developing, young critics and art historians are speaking: A. Benoit (1870 – 1960), I. Grabar(1871 – 1960), published a lot N. Roerich(1874 – 1947) and others.

Realistic direction in painting, as in literature, it was very fruitful. At the end of the 19th - beginning of the 20th centuries. were still working I. Repin, V. Surikov, V. Vasnetsov, V. Vereshchagin, V. Polenov and others. During this period, V.A.’s talent flourished. Serov (1865 – 1911), who deepened the content of realism and expanded its expressive possibilities (“Girl with Peaches”, “Girl Illuminated by the Sun”, portraits of Gorky, Ermolova and others). Serov varied his artistic style depending on the characteristics of the work and the originality of nature (portraits of M. Morozov, banker V. Girshman, Princess Orlova). A significant place in his work is occupied by historical compositions ("Peter I") and mythological subjects ("The Rape of Europa", "Odysseus and Nausicaa").

One of the outstanding masters who paved new paths in painting - K. Korovin(1864 - 1939), who was influenced by impressionism ("In Winter", "Summer", "Roses and Violets" and others), Korovin creates scenery for performances of the Russian Private Opera of S. Mamontov, the Imperial and Bolshoi Theaters. Korovin's best theatrical works are associated with national themes, with Russia, its epics and fairy tales, its history and nature.

Art is excited and spiritualized M. Vrubel(1856 – 1910). The expressiveness of his works increases thanks to dynamic painting, shimmering color, and energetic drawing. This is an easel painting, a book illustration, a monumental decorative panel, and a theater set.

One of the central themes in his work is the theme Demon, inspired by the poetry of M. Lermontov (“The Seated Demon”, “The Flying Demon”, “The Defeated Demon”). Epic heroes come to life in his panels “Mikula Selyaninovich”, “Bogatyr”. The fairy-tale images of “Pan” and “The Swan Princess” are beautiful. The portraits (of S. Mamontov, V. Borisov and others) are unique and significant.

The poeticization of images of nature and man was embodied in the work of V. Borisov-Musatov (1870 - 1905).

A significant phenomenon in Russian artistic life was the ideological and artistic association " World of Art", which included A. Benois (1870 – 1960), K. Somov (1869 – 1939), L. Bakst (1866 – 1924), E. Lanceray (1875 – 1946), M. Dobuzhinsky (1875 – 1957). In two types of art, the artists of the World of Arts achieved the most significant success: in theatrical decoration and in graphics. Landscapes of old St. Petersburg and its suburbs, as well as portraits, made a great contribution to the graphics of the early 20th century. A. Ostroumova-Lebedeva. I. Bilibin, D. Kardovsky, G. Narbut and others worked fruitfully in book graphics.

Talented masters were united and " Union of Russian Artists"(1903 - 1923), in whose exhibitions K. Korovin, A. Arkhipov, A. Vasnetsov, S. Malyutin and others took part; A. Rylov, K. Yuon, I. Brodsky were close to the "Union" in their artistic positions , A. Malyavin. Scenery- the main genre in the art of the masters of the Union of Russian Artists. They depicted the nature of central Russia, the sunny south, the harsh north, and ancient Russian cities and ancient estates. These artists were interested in rapid visual coverage of the world, dynamic composition, and blurring the boundaries between compositional painting and life sketch.

In the decade 1907 - 1917 the arts include talented painters. Z.E. Serebryakova(1884 - 1967) developed the traditions of Venetsianov, the great masters of the Renaissance ("The Harvest", "Whitening the Canvas"). Her portraits (self-portrait, portraits of children) are distinguished by their inner warmth and artistic expressiveness.

K.S. Petrov-Vodkin(1878 – 1939) was interested in ancient Russian art, especially icon painting. This was reflected in the paintings “Mother” and “Morning”, where the images of peasant women symbolize high spiritualized moral purity. A new phenomenon was the painting “The Bathing of the Red Horse” (1912), distinguished by its laconic composition, the dynamics of space, the classical rigor of the design and the harmony of color based on the main colors of the spectrum.

The formation of creativity is associated with the beginning of the 20th century M.S. Saryan(1880 – 1972). His laconic works are built on bright and solid color silhouettes, contrasts of rhythm, light and shadow ("Street. Noon. Constantinople", "Date Palm. Egypt" and others).

One of the most significant phenomena of Russian art of the early 20th century is the work of M.V. Nesterova (1862 – 1942). The artist turned to the world of ideal beauty and sang the purity of religious feeling. A huge role in Nesterov’s works is played by the landscape, with which the inner world of his heroes is connected. This " Hermit", "Vision to the youth Bartholomew", "Great tonsure"and others. Nesterov's skill as a portrait painter is also evolving. The artist paints most of his portraits against the backdrop of a landscape (portrait of his daughter: the figure of a girl in a black riding habit stands out in a beautiful silhouette against the backdrop of an evening landscape, embodying the ideal of youth, the beauty of life and harmony).

At the beginning of the 20th century, there was a noticeable revival sculpture, a galaxy of major masters appeared. P.P. Trubetskoy (1866 – 1938) revealed his talent in portraits (“Artist I.I. Levitan”, portrait of L. Tolstoy). The monument to Alexander III gained wide popularity.

To the striking phenomena in Russian art at the turn of the 19th-20th centuries. refers to the work of A.S. Golubkina (1864 – 1927). Her art is emphatically spiritual, filled with deep content and consistently democratic. She creates sculptural portraits of the writer A.N. Tolstoy and a simple woman (“Marya”, 1903). Her favorite technique is sharp light and shadow modeling, with the help of which the sculptor achieves special dynamics and emotionality of the image.

The talented, original and multifaceted sculptor S.G. Konenkov (1874 – 1971) during this period created the works “Stonebreaker”, “Samson”, and one of the most captivating images - “Nike” (1906). Traditions of Russian folklore occupy a large place ("Old Field Man", etc.).

Architecture late XIX – early XX centuries. distinguished by the development of Art Nouveau style; who put forward the task of decisive renewal of artistic and figurative language. One of the most important creative problems was the synthesis of arts. A characteristic feature of Art Nouveau is the interweaving of creative manners and various trends. Modernism evolved quickly. Its early stage was characterized by formal decorative techniques and mannered ornamentation. At the turn of the 1900s - 1910s. rationalistic tendencies intensified. Late modernism is characterized by a desire for simplicity and rigor.

One of the leading masters of Art Nouveau - F.O. Shekhtel (1859 – 1926). His main works are the mansion of S.P. Ryabushinsky; Yaroslavl Station (1902) is an example of national modernism (“neo-Russian style”), etc.

A typical example of early modernism is the Metropol Hotel (architect V.F. Valkot), the facades are decorated with majolica panels made according to sketches by M. Vrubel and A. Golovin. In St. Petersburg, the Kshesinskaya mansion (A.I. von Hugen), the Eliseev store building on Nevsky Prospekt (G.V. Baranovsky), Vitebsky railway station (S.A. Brzhozovsky).

Since the 1910s, there has been a desire in architecture to revive the tradition of ensemble development of the classicist era. Representatives of neoclassicism - I.A. Fomin (1872 – 1936), V.A. Shchuko (1878 – 1939), A.V. Shchusev (1873 – 1949) – author of the Kazan railway station in Moscow.

Over the course of centuries of history, Russian art has changed, been enriched, improved, but has always remained original, expressing the national character of Russian culture.

Education. In the context of the revolutionary events of 1905, the Ministry of Public Education introduced into the 2nd State Duma a draft law “On the introduction of universal primary education in the Russian Empire.” However, this issue was never resolved in pre-revolutionary Russia. At the turn of 19-20 in Russia the transition to universal incomplete secondary education of youth in the amount of 7-8 grades had just begun. In Western Europe, at the end of the 19th century, universal literacy was ensured. Literacy in Russia was 40%, i.e. the majority of the population remained illiterate, especially the peasants.

The number of universities has remained virtually unchanged; in 1909, only 1 university appeared in Saratov. The number of students increased from 14 thousand to 35 thousand in 1907.

The spread of private educational institutions (Psycho-neurological Institute of V. Bekhterev, Free Higher School of P. Lesgaft. Prominent scientists I. Pavlov, M. Kovalevsky, V. Semevsky, E. Tarle taught there. Many of them worked for free. Pedagogical institutions were opened. Women's Pedagogical Institute in St. Petersburg 1903

Women's education expanded significantly. 30 higher educational institutions for women. In 1900, the Higher Women's Courses of V. Guerrier, closed during the reaction years of 1888, were reopened. in 1908, higher women's agricultural courses began to operate, led by D. Pryanishnikov. All of them were supported by private or public funds. The government was forced to recognize the right of women to higher education - the law of 1911. In 1912, the first All-Russian Congress on Women's Education was held, which, in particular, adopted a resolution on co-education in higher educational institutions.

Extracurricular education is also appearing. In addition to Sunday schools, work courses are appearing. The most famous were the Prechistensky working courses in Moscow in 1897 at the expense of V. Morozova, the owner of the Tver manufactory. Teachers: I. Sechenov, V. Volgin, V. Picheta.

People's universities and educational workers' societies arose. 1096 People's universities were created. In Moscow, the People's University was opened with the money of the liberal A. Shanyavsky. Shanyavsky University played a big role in the democratization of higher education. Anyone from the age of 16 could enroll. Training was carried out in the evenings in 2 departments - popular science (in the scope of the gymnasium) and academic. Those who completed the latter received a diploma of higher education. In 1913-1914 S. Yesenin studied at Shanyavsky University.

Book publishing. The main book publishing centers in Moscow and St. Petersburg. Russia ranks 3rd in the world after Germany and Japan. Among the magazines, diaries acquired particular importance: “Niva” by A. Marx, 1870. The best pedagogical journal was “Bulletin of Education.” In 1907, the bibliographic journal “Book Chronicle” was published in Russia, which took into account all published literature.

At the end of the 19th century, the largest book publishers in Russia began their activities in Russia - A. Suvorin, I. Sytin. Suvorinskaya's “Cheap Library” has been published since 1980. Sytin released the series “Library for Self-Education”. Sytin became the largest monopolist in the publishing business. Through these books, millions of primers, textbooks, libraries for self-education, popular calendars, and children's books were distributed throughout Russia.

Zemstvos did a lot for the development of libraries. Of the 10 thousand libraries in 1904, 4.5 thousand were organized by zemstvos. Public or public libraries existed in the form of commercial, public libraries, and reading rooms.

The science. The Academy of Sciences with an extensive system of scientific institutes, universities with numerous scientific societies, and all-Russian congresses of scientists represented the centers of the country's scientific forces. Publications of popular science literature, periodicals (“Around the World”, “Nature”, “Science and Life”), public lectures by famous scientists contributed to the development of science and the dissemination of scientific knowledge.

At the beginning of the century, the aviation industry practically did not exist. Despite the fact that a Russian aircraft was designed at the end of the 19th century. The government preferred to buy foreign ones. Only in 1913 in St. Petersburg at the Russian-Baltic Plant were the first Russian-designed aircraft “Russian Knight” and “Ilya Muromets” created. Aviation successes are associated with the names of the designers: designer I. Sikorsky, pilots P. Nesterov and S. Utochkin. 1911 G. Kotelnikov created a backpack parachute.

In 1903, in the journal Scientific Review, K. Tsiolkovsky published an article “Exploration of world spaces using jet instruments,” in which he outlined the theory of rocket motion. Thus, in his subsequent works he laid the theoretical foundations of space flights and substantiated the possibility of using rockets for interplanetary flights. He is the founder of modern astronautics.

In physics, X-rays, radioactivity, the divisibility of the atom were discovered, theoretical synthesis was discovered, new sciences appeared regarding such concepts as space and time (the theory of relativity), new concepts of heredity that underlay genetics.

P. Lebedev, the founder of the Russian scientific school of physics, proved the existence of light pressure. B. Golitsyn is considered the founder of seismology as a science.

The works of V. Vernadsky laid the foundations of such sciences as geochemistry, biogeochemistry, and radiogeology. The Russian scientist physiologist I. Pavlov created the doctrine of conditioned reflexes. In 1904, Pavlov, the first Russian scientist, was awarded the Nobel Prize for research in the field of digestive physiology. In 1908, I. Mechnikov was awarded this highest award for his research into immunology and infectious diseases.

In the field of humanities worked economist, historian Tugan-Baranovsky, historian S. Platonov, V. Semevsky, literary critics S. Vengerov, A. Pypin, bibliographer N. Rubakin.

In the early 20th century, Marxism spread in Russia. Lenin. Russian religious philosophy – V. Solovyov, S. Bulkakov, P. Florensky.

Decadence the concept of worldview appeared as a reaction against materialism. Modernism- a new direction born in the 20th century, new in comparison with the realism of the previous century.

Literature. L Tolstoy published his last novel “Resurrection” in 1899 - a protest against social evil and social injustice. Tolstoy did not support modernism. Developing symbolism. Bryusov, Balmont, Sologub, Merezhkovsky, A. Blok. The founders of Acmeism - from the Greek - blooming time, N. Gumilyov, S. Gorodetsky, A Akhmatova, O. Mandelstam (the cult of real earthly existence in contrast to the symbolists). Futurism (absolute freedom)B. Kamensiky, V. Mayakovsky, Severyanin, Aseev, Pasternak

A. Chekhov created his best works: “My Life”, “Lady with a Dog”, “House with a Mezzanine”, “The Cherry Orchard”, “The Seagull”. Gorky's creative path began. He published his first novel “Makar Chudra” in 1892 “Song of the Falcon”, “Petrel”.

Young writers came to literature: 1893, the first novel by I. Bunin “Tanka”, A. Kuprin “Olesya”. They are representatives of realism.

Proletarian poetry - social optimism and romantic pathos - became a new phenomenon. 1906 M. Gorky “Mother”. New peasant poets S. Yesenin, N. Klyuev, S. Klychkov).

Theater. 1898 The Art Theater opens in Moscow. At its origins were K. Stanislavsky and V. Nemirovich-Danchenko. In 1898, the first performance of A. Tolstoy’s play “Tsar Fyodor Ivanovich” took place on the stage of the Hermitage. The true birth of the art theater occurred in December 1898 with the production of Chekhov's The Seagull. In 1902, at the expense of the Russian philanthropist S. Morozov, the building of the Art Theater in Moscow was built (architect F. Shekhtel)

Cinema. In 90, cinema appeared in Russia, simultaneously with its invention in France by the Lumière brothers. The first newsreels were shown in May 1896, starting in St. Petersburg in the Aquarium pleasure garden, and a few days later in Moscow. The first Russian film entrepreneur A. Khanzhonkov began producing feature films in 1907-8, built a film factory and a number of cinemas, including “Khudozhestvenny” and “Moscow”. The first feature films were “The Queen of Spades” and “Father Sergius” (dir. Y. Protazanov).

Music. 1 906 in Moscow, with the assistance of S. Taneyev, a people's conservatory was opened. The “sign of the times” was the strengthening of the lyrical principle in music. N. Rimsky - Korsakov - the main keeper of the traditions of the “Mighty Handful” - wrote the opera “The Tsar’s Bride” in 1898, full of lyricism and drama.

Musical innovations are associated with the work of S. Rachmaninov and A. Scriabin. The centers of musical life were the Mariinsky and Bolshoi theaters. However, the main achievements of opera art are associated with the activities of private opera in Moscow - S. Mamontov, S. Zimin. F. Chaliapin's talent was revealed on the stage of Mamontov's private opera.

Russian seasons in Paris were organized by S. Diaghilev. Russian art has received worldwide recognition.

Painting. Traveling is gradually becoming a thing of the past. Modernism and impressionism are developing. New names appear: M. Vrubel (fantastic fairy-tale world, gravitating towards symbolism), K. Korovin (impressionism - “At the Balcony”), M. Nesterov (religious and mystical moods “Vision to the Youth Bartholomew”), V. Serov (poetry of the beautiful human personality – “Girl with Peaches”). Serov's portraits are famous - F. Chaliapin I. Morozov Nikolai II. Artists and composers of this time were characterized by an increased interest in Ancient Rus' (V. Vasnetsov, N. Roerich, I. Stravinsky).

In 1899, a broad cultural and aesthetic movement “World of Art” appeared. It opened Rokotov, Levitsky, Kiprensky, Venetsianov, F. Tolstoy to his contemporaries

Mail. The postal service department was established . 35 post districts. Post offices appear in capitals, and post offices headed by postmasters appear in provinces and districts. Newspapers and magazines are distributed through the mail. What was new was the appearance of an open letter - a postcard in 1871

Telegraph, Telephone. The experience of constructing a telegraph is associated with P. Schilling and B. Jacobi. 1832 Schilling invented the telegraph. The first telegraph line between Moscow and St. Petersburg in the 50s and 19th centuries. 1881 telephone numbers in Nizhny Novgorod. 1916 Payphones appeared in Moscow.

On the eve of the revolutionary events of 1917, Russia had a rich cultural heritage, world-class cultural values.

Culture of the late 19th century.

Peculiarities. The culture of this period reflected all the complexity and contradictions of the era. This is the time of the Russian Silver Age or Russian spiritual renaissance, the rise of spirituality. The mood of stability 80g is replaced by a state of mental tension, the expectation of a “great revolution” - L. Tolstoy. The revolution of 1905-7 had a huge impact. A special feature is the development of various forms of association of cultural figures, the idea of ​​cultural synthesis - “World of Art”, the magazine “Scales” (editor V. Bryusov), “Golden Fleece” (N. Ryabushinsky)

This time is the beginning of Religious and Philosophical meetings. The goal is to create an open society of people of religion and philosophy to discuss issues of church and culture. The period after the revolution gave rise to a new direction - the search for God D. Merezhkovsky, Vl Solovyov. Some authors (A. Lunacharsky, V. Bazarov) tried to combine socialism with religion. 1908 Lunacharsky published the book “Religion and Socialism” 1908. V. Plekhanov and V. Lenin criticized the search for God. An important problem was the problem of the relationship between the intelligentsia and the people.

Federal Agency for Education

State educational institution

Higher professional education

Kuzbass State Technical University

Department: Russian history, theory and cultural history

Discipline: Cultural Studies

Test No. 1

"Russian culture of the late 19th and early 20th centuries"

Option 16

Code 099-463

Completed by: Saigina M.V.

Kemerovo region, Topkinsky district,

Razdolye village, microdistrict 1, 12

Kemerovo, 2010

Task 4. Run tests

.Theorists and practitioners of symbolism include:

A) N. Gumilev

B) V. Bryusov

B) A. Blok

D) M. Vrubel

D) M. Tsvetaeva

Correct answer: B, C, D

The World of Art association included:

A) V. Mayakovsky

B) K. Somov

B) E. Lansere

D) L. Bakst

D) A. Benoit

E) V. Vasnetsov

Correct answer: B, C, D, D

.Match the work with the author:

A) “The King’s Walk” A) M. Nesterov

B) “The Rape of Europe” B) N. Roerich

B) “Overseas Guests” B) A. Benois

D) “Portrait of F. Chaliapin” D) V. Serov

D) “Vision to the youth Bartholomew D) B. Kustodiev

Correct answer: A-C, B-D, C-B, D-D, D-A

Task 1. Cover the problem: “Silver Age” of Russian literature”

The 19th century, the “golden age” of Russian literature, ended, and the 20th century began. This turning point went down in history under the beautiful name of the “Silver Age”. Turn of the century proved to be a favorable basis for this period. It gave birth to the great rise of Russian culture and became the beginning of its tragic fall. The beginning of the “Silver Age” is usually attributed to the 90s of the 19th century, when the poems of V. Bryusov, I. Annensky, K. Balmont and other wonderful poets appeared. The heyday of the “Silver Age” is considered to be 1915 - the time of its greatest rise and end.

Century did not last long - about twenty years, but it gave the world wonderful examples of philosophical thought, demonstrated the life and melody of poetry, resurrected the ancient Russian icon, and gave impetus to new directions in painting, music, and theatrical art. silver Age became the time of formation of the Russian avant-garde.

The period of transitional cultures is always dramatic, and the relationship between the traditional, classical culture of the past - familiar, habitual, but no longer arousing special interest - and the emerging culture of a new type is always complex and contradictory. So new that its manifestations are incomprehensible and sometimes cause a negative reaction. This is natural: in the consciousness of society, changing types of cultures occurs quite painfully. The complexity of the situation is largely determined by changes in values, ideals and norms of spiritual culture. The old values ​​have fulfilled their function, played their roles, there are no new values ​​yet, they are just taking shape, and the historical stage remains empty.

In Russia, the difficulty was that public consciousness took shape under conditions that further dramatized the situation. Post-reform Russia was moving to new forms of economic relations. The Russian intelligentsia turned out to be almost helpless in the face of the new demands of political development: a multi-party system was inevitably developing, and actual practice was significantly ahead of the theoretical understanding of the new political culture. Russian culture is losing one of the fundamental principles of its existence - conciliarity - the feeling of the unity of a person with another person and a social group.

The socio-political situation of this time was characterized by a deep crisis of the existing government, a stormy, restless atmosphere in the country requiring decisive changes. Maybe that’s why the paths of art and politics crossed. Just as society was intensely searching for ways to a new social system, writers and poets sought to master new artistic forms and put forward bold experimental ideas. The realistic depiction of reality ceased to satisfy artists, and in polemics with the classics of the 19th century, new literary movements were established: symbolism, acmeism, futurism. They offered different ways of comprehending existence, but each of them was distinguished by the extraordinary music of the verse, the original expression of the feelings and experiences of the lyrical hero, and a focus on the future.

In the history of Russian artistic culture, the beginning of the 20th century was fruitful, contradictory, and rapid in its development. At the turn of two centuries, Russia gives the world talents with special generosity. The work of L.N. entered a new period. Tolstoy. During these same years A.P. Chekhov becomes that great artist of words who has a huge influence on world literature. V. Korolenko, A. Serafimovich, N. Garin-Mikhailovsky are published, M. Gorky and L. Andreev surprise readers, I. Bunin announces himself with poetry and early prose, A. Kuprin and V. Veresaev begin to publish.

The perception of the world becomes freer, the artist’s personality is liberated.

The revolutionary explosion in Russia caused different assessments among the Russian artistic intelligentsia, so one cannot fail to recognize the influence of the revolution on Russian artistic culture. Social problems characterize the works of M. Gorky, Serafimovich, Korolenko.

Many Russian writers turned to drama. The theater attracts a huge audience; it is in the prime of its strength and possibilities.

It is very important that in the culture of the beginning of the century the philosophical and ethical problem was extremely acute: Which is better, truth or compassion? Comforting lies forms the core of G. Ibsen’s dramas, which enjoyed great success among the Russian public at the beginning of the century. This theme is heard in Gorky's drama At the bottom and forms a certain moral ideal of the time.

There have never been so many directions, associations, and associations in Russian art as at the beginning of the twentieth century. They put forward their creative theoretical programs, rejected their predecessors, fought with their contemporaries, and tried to predict the future. The contours of the new aesthetic ideal were too unclear for many, hence the tragic overtones in the creative quests of many artists.

One of the first literary movements was symbolism, which united such different poets as K. Balmont, V. Bryusov, A. Bely and others. Russian symbolism asserted itself persistently and, according to many critics, suddenly. In 1892 in the magazine Northern Herald An article by Dmitry Merezhkovsky was published On the causes of decline and the latest trends in modern Russian literature , and for a long time it was considered a manifesto of Russian symbolists. In realism, in this artistic materialism Merezhkovsky sees the reason for the decline of modern literature.

Theorists of symbolism believed that the artist should create new art with the help of symbolic images that will help express the moods, feelings and thoughts of the poet in a more subtle and general way. Moreover, truth and insight can appear in an artist not as a result of reflection, but at a moment of creative ecstasy, as if sent to him from above. Symbolist poets carried their dreams upward, asking global questions about how to save humanity, how to restore faith in God, achieve harmony, merging with the Soul of the World, Eternal Femininity, Beauty and Love.

V. Bryusov became the recognized meter of symbolism, embodying in his poems not only the formal innovative achievements of this movement, but also its ideas. Bryusov’s original creative manifesto was a small poem “To the Young Poet,” which was perceived by contemporaries as a program of symbolism:

A pale young man with a burning gaze,

Now I give you three covenants:

First accept: don’t live in the present,

Only the future is the domain of the poet.

Remember the second: don’t sympathize with anyone,

Love yourself infinitely.

Keep the third: worship art,

Only to him, thoughtlessly, aimlessly

The Symbolists viewed life as the life of a Poet. Focus on oneself is characteristic of the work of the remarkable symbolist poet K. Balmont. He himself was the meaning, theme, image and purpose of his poems. I. Ehrenburg very accurately noticed this feature of his poetry: “Balmont noticed nothing in the world except his own soul.” Indeed, the external world existed for him only so that he could express his poetic self.

The unique features of Russian symbolism manifested themselves most of all in the work of junior symbolists beginning of the twentieth century - A. Blok, A. Bely, Vyach. Ivanova. In their work, the material world is only a mask through which another world of the spirit shines through. Images of masks and masquerade constantly flash in the poetry and prose of the Symbolists.

During the years of the first Russian revolution, proletarian poetry emerged. This is mass poetry, close to the urban lower classes. The poems are clear and specific - a kind of response to real events. Proletarian poetry is permeated with revolutionary appeals. Poems were published in many magazines.

The mass reader's literary taste was developing, and the culture of this period had significant educational potential, and an entire system of self-education was developed.

The years of post-revolutionary reaction were characterized by sentiments of pessimism and renunciation.

Russian literature found a way out in the appearance neorealist style , which had no clear external signs. Along with the reviving realism, new forms of romanticism arose. This was especially evident in poetry.

Just as the denial of realism gave rise to symbolism, a new literary movement - Acmeism - arose in the course of polemics with symbolism. He rejected the craving of symbolism for the unknown, the focus on the world of his own soul. Acmeism, according to Gumilev, should not strive for the unknowable, but turn to what can be understood, that is, to real reality, trying to embrace the diversity of the world as fully as possible. With this view, the Acmeist artist, unlike the Symbolists, becomes involved in the world rhythm, although he gives assessments to the phenomena depicted.

Acmeism also received a certain theoretical justification in the articles of Gorodetsky Some trends in modern Russian poetry , O. Mandelstam Morning of Acmeism , A. Akhmatova, M. Zenkevich, G. Ivanov. Joining a group Workshop of poets , they joined the magazine Apollo , contrasted with the mystical aspirations of symbolism towards unknowable element of nature , declared concrete sensory perception material world , returning the word to its basic, original meaning.

The Acmeists drew closer to late symbolism and focused on revealing eternal entities.

Despite all the virtuosity of depicting reality, social motives are extremely rare among Acmeist poets. Acmeism was characterized by extreme apoliticality, complete indifference to the pressing problems of our time.

This is probably why Acmeism had to give way to a new literary movement - futurism, which was distinguished by revolutionary rebellion, oppositional sentiment against bourgeois society, its morality, aesthetic tastes, and the entire system of social relations. The futurists destroyed the boundaries between art and life, between image and everyday life; they focused on the language of the streets, popular prints, advertising, urban folklore and posters.

It is not for nothing that the first collection of futurists, who considered themselves poets of the future, bore the obviously provocative title “A Slap in the Face of Public Taste.” Mayakovsky's early work was associated with futurism. In his youthful poems one can feel the desire of the aspiring poet to amaze the reader with the novelty and unusualness of his vision of the world. And Mayakovsky really succeeded.

There was a group of poets who gravitated towards futurism - V. Kamensky, the Burliuk brothers, A. Kruchenykh. Collections of futurists Judges cage (1910-1913), A slap in the face to public taste (1912), Dead Moon (1913) were frankly unusual for the reading public.

Poets such as V. Mayakovsky, V. Khlebnikov, V. Kamensky, discerned in the union of poetry and struggle the special spiritual state of their time and tried to find new rhythms and images for the poetic embodiment of the seething revolutionary life.

The Silver Age is marked by women's lyrics. Zinaida Gippius, Marina Tsvetaeva, Anna Akhmatova... There were others, but hardly anyone can compare with those named. The poets of the Silver Age created a grandiose poetic corpus. Great talent is always rare, genius even more so. The twentieth century did not give its Pushkin, but the art of Russia at the beginning of the twentieth century created a kind of book - “that book was written with the stars, the Milky Way is one of its leaves.” D. Merezhkovsky, A. Blok, M. Voloshin, I. Annensky, V. Bryusov, K. Balmont, B. Pasternak, S. Gorodetsky, S. Yesenin... A. Scriabin, S. Rachmaninov, M. Vrubel, V. Kandinsky, M. Chagall, Falk, I. Mashkov, N. Roerich - a gallery of the greatest names and personalities. The fate of most of the geniuses of the Silver Age was tragic. But all of them, through the vicissitudes of revolutions, wars, through emigration, through fire and blood, through mistakes and delusions, carried the feeling of the Motherland, the unshakable belief that “Russia will be great.” All of them created a real miracle at the beginning of the 20th century - the “Silver Age” of Russian poetry. The diversity of creative individuals makes it especially fascinating, albeit difficult, to get to know and study this rich and diverse period.

Task 2. Briefly answer the questions

What are the main achievements of Russian science in the border era?

The turn of two centuries became a period of intensive development of various social sciences. It was at this time that the work of the major sociologist P.A. Sorokin began, whose works subsequently became world famous. P.A. Sorokin, who emigrated from the USSR in 1922, played a huge role in the formation and development of American sociology. The works of M. I. Tugan-Baranovsky and P. B. Struve made a great contribution to the study of economic, historical and economic problems.

Russian historical science has achieved great success. The past of Russia was actively studied.

Philologist and historian A.A. Shakhmatov created a number of classic works on Russian chronicles. Significant successes in the development of domestic historiography were achieved by A.E. Presnyakov, S.F. Platonov, S.V. Bakhrushin, Yu.V. Gauthier, A.S. Lappo-Danilevsky.

Not only the past of the Fatherland was in the field of view of Russian historians. The problems of the Western European Middle Ages and modern times were studied by N.I. Kareev, P.G. Vinogradov, E.V. Tarle, D.M. Petrushevsky.

At the turn of the two centuries, jurisprudence, philological sciences, etc. developed successfully.

Name the main artistic movements of the Silver Age.

Symbolism was the product of a deep crisis that gripped European culture at the end of the 19th century. The crisis manifested itself in a negative assessment of progressive social ideas, in a revision of moral values, in a loss of faith in the power of the scientific subconscious, and in a passion for idealistic philosophy. Symbolists strive to create a complex, associative metaphor, abstract and irrational.

Acmeism (from the Greek akme - the highest degree of something, blossoming, maturity, peak, edge) is one of the modernist movements in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism. The Acmeists proclaimed materiality, objectivity of themes and images, precision of words (from the standpoint of “art for art’s sake”).

Futurism (from Latin futurum - future) is the general name of the artistic avant-garde movements of the 1910s and early 1920s. XX century

What is the role of patrons in the development of Russian culture?

Patronage is material support for certain cultural figures. It can serve the achievement of various goals - economic, political, ideological.

Patronage played an important role in the development of culture.

S.I. Mamontov (1841 - 1918) created an art circle on his Abramtsevo estate near Moscow, which became one of the centers of development of Russian culture. The very flower of the Russian intelligentsia gathered here: I. E. Repin, V. M. Vasnetsov, M. A. Vrubel, K. A. Korovin, V. A. Serov, V. D. Polenov. In Moscow in 1885, Mamontov founded a private Russian opera and became its director.

Moscow merchant and industrialist P. M. Tretyakov (1838 - 1898). Since 1856, he systematically bought paintings by Russian artists and created a rich art gallery of Russian painting. In 1893, Tretyakov donated his collection to Moscow. The Tretyakov Gallery is the largest museum of Russian painting.

S. T. Morozov (1862 - 1905) was a patron of the Moscow Art Theater. He allocated money for the construction of the building and provided financial support to the theater. The Morozovs are also known for creating a museum of Western art and creating a huge collection of ancient Russian engravings and portraits.

The Shchukin family of textile manufacturers created a museum of modern Western painting, which displays paintings by P. Gauguin, A. Matisse, P. Picasso; a large museum of Russian antiquity, and also founded the Psychological Institute at her own expense.

A. A. Bakhrushin (1865 - 1929) based on his collection created a private literary and theatrical museum (now the Bakhrushin Theater Museum).

The Ryabushinskys made a great contribution to the revival of Russian church architecture and collected a rich collection of Russian icon painting. They financed the art magazine "Golden Fleece", events in support of Russian aviation, and expeditions to explore Kamchatka. After the revolution, the family ended up in exile.

The list of names of Russian philanthropists is very wide, so it is impossible to name all the Russian merchants, industrialists, and nobles who spent personal funds on science, art, and charity without thinking about profit. It should be remembered that high art has always developed due to the support of the state and patronage.

Task 3. Explain the terms: Suprematism, Acmeism, Constructivism, Symbolism, Futurism, Decadence

Russian literature decadence acmeism

Suprematism (from Latin Supremus - highest) is a movement in avant-garde art, founded in the 1st half of the 1910s. K. S. Malevich. Being a type of abstract art, Suprematism was expressed in combinations of multi-colored planes of the simplest geometric shapes devoid of pictorial meaning (in the geometric forms of a straight line, square, circle and rectangle). The combination of multi-colored and different-sized geometric figures forms balanced asymmetrical suprematist compositions permeated with internal movement. At the initial stage, this term, going back to the Latin root suprem, meant dominance, superiority of color over all other properties of painting. In non-objective canvases, paint, according to K. S. Malevich, was for the first time freed from an auxiliary role, from serving other purposes - Suprematist paintings became the first step of “pure creativity,” that is, an act that equalized the creative power of man and Nature (God).

Acmeism (from the Greek - “the highest degree, peak, flowering, blooming time”) is a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. Acmeists proclaimed the materiality, objectivity of themes and images. It is based on the simplicity and clarity of poetic language, the rigor of poetic composition, the desire to create accurate, visible images and directly name objects. The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”, the central figure of which was the organizer of Acmeism N. S. Gumilyov.

Constructivism is a Soviet avant-garde method (style, direction) in fine arts, architecture, photography and decorative and applied arts, which was developed in 1920 - early. 1930. Characterized by rigor, geometricism, laconic forms and monolithic appearance.

Symbolism (from the French symbolisme, from the Greek symbolon - sign, identifying mark) is an aesthetic movement that formed in France in 1880-1890 and became widespread in literature, painting, music, architecture and theater in many European countries at the turn of the 19-20s centuries Symbolism was of great importance in Russian art of the same period, which in art history acquired the definition of “Silver Age”. The symbolists radically changed not only various types of art, but also the very attitude towards it. Their experimental nature, desire for innovation, cosmopolitanism and wide range of influences have become a model for most modern art movements.

Futurism (from Latin futurum - future) is the general name of the artistic avant-garde movements of the 1910s and early 1920s. XX century, primarily in Italy and Russia. Futurism denied traditional culture (especially its moral and artistic values), cultivated urbanism (the aesthetics of the machine industry), and destroyed natural language in poetry. Futurists preached the destruction of the forms and conventions of art in order to merge it with the accelerated life process of the 20th century. They are characterized by a reverence for action, movement, speed, strength and aggression; exaltation of oneself and contempt for the weak; the priority of force, the rapture of war and destruction were asserted. In this regard, futurism in its ideology was very close to both right-wing and left-wing radicals: anarchists, fascists, communists, focused on the revolutionary overthrow of the past.

Decadence (from the late Latin decadentia - decline) is the general name for the crisis phenomena of European culture of the 2nd half of the 19th - early 20th centuries, marked by moods of hopelessness, rejection of life, and tendencies of individualism. A complex and contradictory phenomenon, its source is a crisis of public consciousness, the confusion of many artists in the face of the sharp social antagonisms of reality. Decadent artists considered art’s refusal of political and civil themes to be a manifestation and an indispensable condition for creative freedom. Constant themes are the motives of non-existence and death, longing for spiritual values ​​and ideals.

List of used literature

1. Georgieva T.S. Russian culture: history and modernity: Textbook. allowance. - M., 1999.

Culturology. Domestic culture: Textbook. allowance. - Kemerovo, 2003.

Polikarpov V.S. Lectures on cultural studies. - M.: "Gardarika", "Expert Bureau", 1997.-344 p.

Rapatskaya L.A. Art of the "Silver Age". - M., 1996.

Sarabyanov D.V. History of Russian art of the late XIX - early XX centuries. - M., 1993.

Reader on cultural studies: Textbook. allowance / Compiled by: Laletin D. A., Parkhomenko I. T., Radugin A. A. Responsible. editor Radugin A. A. - M.: Center, 1998. - 592 p.

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